THE 

VAUDEVILLE 
THEATRE 

BUILDING-OPERATION- 
MANAGEMENT 


EDV^ARD  RENTON 


lERKilCY 

LIBRARY 

UWirtRSJTY  Of 
CAUfO«N»A 


THE 

VAUDEVILLE  THEATRE 

BUILDING 
OPERATION 
MANAGEMENT 

BY 

EDWARD   RENTON 


NEW  YORK 

GOTHAM  PRESS,  Inc. 

Publishers 
225  WBST  39th  STREET 


tOAN  STACK 


Copyrisrht  1918  by 

EDWARD    RENTON 

All  Riehts  Reserved 

Printed  in  U.S.A. 


CONTENTS 


pJ\'Ul9 


Chapter  I 
GENERAL  CONSTRUCTION 

Page 

Location,  Site  and  Capacity 11 

Planning,  Designing  and  Construction    .      .      .      .17 

Sight  Lines 20 

Acoustics 25 

Heating  and  Ventilation  .      .      .      •      .      .      .      .27 

Plumbing 31 

Exits 31 

Lobby 33 

Foyer 34 

Boxes  and  Loggias 34 

Stage 35 

Incidental  Rooms 39 

Motion-Picture  Booth 40 

The  Electrical  System 41 

Decoration 66 

Seats  and  Installation 69 

Carpets  and  Floor  Coverings 82 

Draperies  and  Hangings 87 

Chapter  II 
EQUIPMENT  AND  OPERATION 

Lobby 93 

Box-Office 97 

Foyer 99 

Auditorium .99 


2oe 


Page 

Manager's  Office 101 

Ladies'  Room 102 

Gentlemen's  Room 103 

Toilets 104 

Ushers'  Room 106 

Porters'  and  Cleaners'  Room  and  Utensils    ,      .      .  107 

Check-Room Ill 

Nursery , 113 

Bill-Room 114 

Moving-Picture  Booth 114 

Chapter  III 

THE  STAFF 

(Front  of  House) 

The  Manager 117 

The  Treasurer  and  Ticket  Seller 129 

The  Superintendent 141 

The  Door-man      .       .            144 

The  Special  Policeman 146 

The  Ushers 149 

The  Night  Watchman 154 

The  Porters  and  Cleaners 155 

The  Ladies'  Maid 158 

The  Footman 159 

The  Picture  Machine  and  Spotlight  Operator     .      .161 

(Stage  Employees) 

The  Stage  Crew 165 

The  Stage-Manager 167 

The  Electrician 171 

The  Property-man 174 

The  Flyman 182 


(The  Stage) 

Page 

The  Stage 184 

Stage  Equipment 189 

Hardware 190 

Properties 190 

Scenery 193 

Sets  and  Settings 196 

Dressing-Rooms 205 

Chapter  IV 

ADVERTISING  AND  PUBLICITY 

Newspapers 215 

Billboards 230 

Window  and  Street  Car 238 

Lobby  Display 241 

Special      .      .       .       • 246 

Chapter  V 

MISCELLANEOUS 

Uniforms 261 

Programs,  Advertising  Curtains  and  Concessions     .  268 

Fires  and  Panics .  275 

Insurance 284 

The  Orchestra 291 

The  Vaudeville  Artist 299 

Booking  Affiliations 305 


PREFACE 

NO  one  understands  better  than  does  the 
author  that  to  write  a  book  containing  all 
the  accurate  details  as  to  just  how  one 
should  build,  open  and  manage  a  vaudeville 
theatre  would  be  a  well-nigh  impossible  under- 
taking. The  author  can  hope  only  to  bring  to 
your  notice  some  hints  and  suggestions  as  to 
thinffs  vou  mav  have  known  and  overlooked.  Xo 
doubt  each  vaudeville  theatre  manager,  builder 
or  owner  will  find  many  things  on  which  he  will 
disagree  with  the  author;  nevertheless,  if  the 
reader  finds  some  points  of  value,  the  work  will 
not  be  wasted. 

It  should  be  understood  that  all  dimensions, 
materials  and  prices  mentioned  in  this  book  are 
approximate  and  must  be  governed  by  existing 
local  building  codes,  rulings  of  competent  archi- 
tects, size  of  ground  plots  and  the  ever-changing 
costs  of  materials. 

The  data  and  thoughts  conveyed  in  this  vol- 
ume were  collected  during  years  of  practical  ex- 
perience, close  observation  and  personal  contact 
with  the  "other  fellows,"  some  successful,  some 
failures. 

For  both  success  and  failure  there  are  reasons, 
and  it  is  the  desire  of  the  author  to  set  some  of 
them  before  you. 

Edward    Renton. 

NeiD  York 
April  25.  1918 


CHAPTER   I 

GENERAL    CONSTRUCTION 

Location,  Site  and  Capacity 

IN  this  day  and  age,  it  costs  a  great  deal  of 
money  to  erect  a  modern  vaudeville  the- 
atre. That  this  cost  may  be  justified  and  an 
adequate  return  upon  the  investment  realized,  it 
is  essential  first  that  the  builder  satisfy  himself 
that  there  is  a  profitable  field  for  the  operation 
of  such  a  theatre.  Emphasis  is  laid  upon  this 
point  for  the  reason  that  there  is  perhaps  no 
single  cause  contributing  so  generally  to  the 
financial  failure  of  theatres  in  the  country  at 
large  as  the  fact  that  they  were  built  in  cities 
which  had  already  ample  theatrical  accommoda- 
tions. 

Our  old  friends  "supply  and  demand"  regu- 
late the  success  of  theatrical  enterprises  to  just 
the  same  extent  as  they  do  most  others. 

If  it  has  been  decided  that  there  is  a  profit- 

11 


able  field  for  a  theatre,  the  next  point  is  that  of 
choosing  its  location  and  site.  Often  the  pro- 
spective builder  owns  or  controls  a  site  that  he 
considers  ideal,  and  has  been  by  this  fact 
prompted  to  erect  a  theatre.  Sometimes  it  is 
the  case  that  the  prospective  builder  merely  feels 
confident  that  another  theatre  is  needed,  and 
starts  out  to  secure  what  he  considers  a  desir- 
able location.  In  either  event,  the  matter  of  lo- 
cation and  site  is  extremely  important. 

Taking  it  for  granted  that  the  proposed  the- 
atre is  to  cater  to  all  classes  of  people — in  other 
words,  the  average  audience — the  author  will 
call  attention  to  the  more  important  points  to 
be  considered. 

It  is  obvious  that  the  better  the  location,  the 
more  business  may  reasonably  be  expected;  the 
busier  the  street  or  corner,  the  more  people 
passing,  the  more  accessible  to  car-lines  and  the 
more  centrally  located,  the  greater,  all  other 
things  being  equal,  will  be  the  patronage  given 
the  theatre.  It  follows  then  that  the  theatre 
should  seek  the  choicest  site  that  can  be  secured 
upon  terms  or  under  conditions  acceptable  to 
the  builder.  The  handicap  of  poor  location  has 
spelled  disaster  for  many  a  theatre  otherwise 
promising;  and  while  it  is  true  that  if  a  show 
is  sufficiently  attractive,  people  w411  go  out  to 

12 


the  woods  to  patronize  it,  the  better  practice  is 
to  make  the  theatre  just  as  accessible  as  pos- 
sible. This  involves  high  rental,  but  it  also  in- 
sures good  business;  and  a  high  rental  in  a 
choice  location  as  against  a  cheaper  rental  in  an 
inferior  locale  gives,  in  actual  practice,  the 
former  much  the  advantage  of  the  latter  in 
realizing  increased  profits  for  the  builder. 

Once  built,  the  theatre  cannot  be  moved 
about  like  a  circus;  once  located  and  built,  it 
will  be  too  late  to  justify  a  poor  location  by 
the  thought  that  "they  ought  to  come" — so  look 
well  to  this  point. 

It  is  often  the  case  that  sufficient  back 
ground  or  more  inexpensive  land  in  the  rear  of 
buildings  fronting  on  a  main  street  can  be  had, 
at  the  same  time  securing  a  twenty-five  or 
thirty-foot  frontage  on  the  main  street  for  lobby 
purposes,  this  connecting  with  the  larger  plot 
which  should  be  sufficient  in  size  to  accommo- 
date the  auditorium  proper. 

Bear  in  mind  that  an  undesirable  neighbor- 
hood; dingy  and  ill-kept  buildings  on  both  sides 
of  the  theatre;  a  location  such  as  requires  your 
patrons  to  pass  saloons  or  questionable  resorts, 
are  material  factors.  Following  this  line  of 
thought,  be  careful  that  the  location  is  not  so 
close  to  railroad  tracks  that  it  will  be  almost 

IS 


impossible  to  bar  out  the  noise  of  switch  en- 
gines and  passing  trains.  Is  there  a  fire  station 
with  its  clanging  bell  adjoining  the  site  or  in 
rear  of  the  proposed  location;  is  there  a  livery 
stable  with  its  smells  and  noises  across  the 
alley ;  a  garage  or  other  noisy  institution  so  close 
that  it  may  disturb  patrons  or  be  heard  during 
quiet  acts?  Be  careful  to  locate  on  the  right 
side  of  the  street,  for  there  are  a  right  and  a 
wrong  side  of  every  street,  a  popular  and  an  un- 
popular side.  Which  way  is  the  "town"  mov- 
ing— is  your  location  one  that  in  a  few  years 
may  be  "out  of  it"?  If  so,  don't  build  the  the- 
atre there.  Bear  in  mind  that  a  bank,  a  jewel- 
er, a  merchant  may  locate  with  much  less  need 
of  observing  this  point  so  carefully.  But  a  the- 
atre, dependent  upon  the  whim  of  the  public 
in  a  large  measure,  should  be  so  accessible  that 
if  the  idea  occurs  to  people,  while  "downtown," 
to  see  a  show,  they  will  find  it  conveniently 
located  and  easy  to  get  to.  Hundreds  and  hun- 
dreds of  dollars  will  come  to  the  favorably  lo- 
cated house  each  season,  which  the  unfavorably 
located  one  will  not  get,  even  if  the  one  in  the 
good  location  have  somewhat  the  poorer  show 
of  the  two.  These  conclusions  are  based  upon 
actual  experience  and  observation,  not  upon 
theories. 

li4. 


The  location  being  decided  upon,  the  exact 
site  is  the  next  consideration.  Many  a  theatre 
has  ruined  its  builder  or  promoters  through  be- 
ing unsuitably  located.  Perhaps  even  before 
choosing  a  definite  site,  the  question  of  capacity 
should  be  settled.  Is  it  desired  to  seat  from 
2,000  to  2,500  persons  upon  two  floors?  Or 
that  the  capacity  of  the  house  shall  be  from 
1,200  to  1,400?  If  the  former,  your  site  should 
be  not  less  than  100  to  120  feet  wide  by  175  to 
200  feet  deep;  and  if  the  latter,  not  less  than 
100  by  140  feet.  By  adding  a  third  floor  or 
gallery,  capacity  may  be  increased  five  hundred 
seats  on  the  smaller,  or  eight  hundred  on  the 
larger  plot. 

By  all  means  avoid  the  long,  narrow  theatre; 
and  DO  NOT  plan  to  build  two  balconies,  un- 
less it  is  your  intention  to  provide  a  separate 
floor  for  negroes;  it  is  well  to  remember  that  in 
some  cities  the  better  classes  of  the  negroes 
have  declined  to  patronize  a  "second  balcony" 
reserved  for  them  exclusively  and  served  from 
a  separate  ticket-window.  Therefore,  the  bet- 
ter plan  is  to  divide  the  balcony  front  and  rear 
and  provide  a  separate  ticket-window  and  stairs 
for  the  negro  patrons. 

It  is  urgently  recommended  that  the  larger 
capacity  be  provided  for  if  practicable.     There 

15 


are  many  reasons  for  this,  not  the  least  of 
which  is  that  given  sufficient  capacity,  popular 
prices  may  be  established  and  increased  net 
earnings  result.  Also,  if  a  theatre  is  estab- 
lished, and  has  sufficient  capacity  to  meet  price- 
cutting  opposition,  such  opposition  is  much  less 
likely  to  occur.  The  larger  capacity  permits  a 
bigger  show  to  be  profitably  presented,  and  it 
tends  to  popularize  a  theatre  through  the  pub- 
lic's knowledge  that  a  seat  can  generally  be  had 
at  that  theatre;  whereas  the  smaller  one  is  often 
overcrowded,  forcing  patrons  to  wait,  stand  or 
come  back  later  for  another  show. 

The  probable  growth  of  the  city  should  be 
anticipated.  During  the  current  year,  for  in- 
stance, enormous  camps  of  soldiers  have  been 
assembled  near  various  cities.  In  such  of  them 
as  happen  to  have  theatres  of  large  capacity, 
the  owners  and  operators  are  reaping  an  un- 
precedented harvest;  where  builders  were  so 
shortsighted  as  to  build  for  "today"  alone,  they 
see  thousands  of  would-be  patrons,  unable  to  get 
into  their  theatres.  Most  cities  have  conven- 
tions, fairs,  carnivals,  etc.  Build  a  theatre  that 
will  accommodate  the  crowds — for  this  means 
money  that  will  make  a  great  showing  in  annual 
results;  and  it  will  very  likely  be  found  that,  if 

16 


properly  conducted,  provided  with  a  consistent- 
ly good  show,  and  made  popular  by  good  man- 
agement, the  theatre  will  be  comfortably  filled, 
if  not  crowded,  during  normal  times. 

Be  careful  that  the  site  allows  for  a  wide 
sidewalk,  and  a  commodious  lobby;  look  to  the 
provision  for  exit  spaces  that  will  be  ample. 
Regardless  of  the  local  legal  requirements,  pro- 
vide a  SAFE  margin  for  these  points.  Do  not 
scrimp — rather  overdo.  An  area  or  alley-way 
at  both  sides  of  the  theatre  is  very  desirable. 
This  not  only  provides  emergency  and  fire  exit 
space,  but  is  of  the  greatest  assistance  in  venti- 
lating during  the  "dog  days."  Have  these 
points  in  mind  when  choosing  a  site,  and  while 
the  author  realizes  that  often  realty  conditions 
make  it  difficult  to  secure  the  ideal  location  and 
site,  it  is  much  better  not  to  build  at  all  than 
to  do  so  without  giving  these  elements  proper 
consideration. 

Planning,  Designing  and  Construction 

A  location  and  site  for  the  proposed  theatre 
having  been  chosen,  the  next  problems  confront- 
ing the  builder  involve  the  erection  of  the  struct- 
ure, choice  of  the  architect  who  will  plan  and 
supervise  its  construction,  the  firm  which  will 
be  entrusted  with  the  general  contract  as  well 

17 


as  all  snb-contractors  who  are  awarded  the  va- 
rious contracts  in  connection  with  its  building. 

In  the  first  place,  and  upon  this  point  all  au- 
thorities seem  to  be  agreed,  the  designing  and 
planning  of  the  theatre  should  be  entrusted  only 
to  an  architect  who  specializes  in  this  branch  of 
his  profession.  There  is  probably  no  other  type 
of  building  which  presents  more  difficult  and 
complex  demands  upon  the  architect  and  build- 
er than  does  a  theatre.  Problems  peculiar  to  it 
are  frequent  and  puzzling,  and  can  be  grappled 
with  successfully  only  by  a  man  thoroughly  ex- 
perienced in  such  work.  The  more  theatres  an 
architect  has  designed,  the  more  desirable  are 
his  services.  He  should  know  the  especial  re- 
quirements for  a  vaudeville  theatre,  such  as  the 
necessity  for  planning  the  structure  to  facili- 
tate the  handling  of  crowds  whether  one,  two, 
three  or  more  shows  are  given  daily;  the  need 
for  first-class  motion-picture  projection,  and 
the  adapting  of  the  building  to  a  possible  fu- 
ture change  of  policy.  It  is  not  sufficient, 
therefore,  that  he  be  merely  a  good  architect; 
it  is  essential  that  he  be  a  theatrical  architect, 
not  theoretically,  but  actually,  if  the  theatre  is 
to  be  beautiful  inside  and  out,  and  as  nearly 
perfect  as  possible  in  detail. 

In  the  writer's  opinion,  if  the  builder  is  well 

18 


advised  he  will  take  a  trip  to  see  a  few  of  the 
more  recently  built  vaudeville  theatres;  will 
study  them  carefully,  and  form  a  more  definite 
idea  of  modern  practice  bj^  this  means  than  is 
possible  by  any  other. 

Nearly  every  city  governs  the  construction  of 
theatres  by  a  special  code;  in  the  main  these 
codes  are  identical  in  their  requirements  as  to 
fireproof  construction,  ample  and  safe  exits  and 
exit- ways.  A  serious  responsibility  rests  not 
alone  upon  the  builder,  but  upon  the  architect 
as  well,  for  planning  and  devising  a  structure 
that  shall  be  as  safe  as  human  ingenuity  can 
devise  and  modern  materials  and  equipment 
make  it.  From  a  purelj'  selfish  standpoint,  the 
best  practice  and  most  approved  means  of  ac- 
complishing this  are  profitable;  for  the  reduced 
premiums  paid  for  insurance  of  various  kinds 
will  in  the  course  of  a  very  few  years  more 
than  make  up  for  the  slightly  increased  original 
cost.  Cost  of  fireproof  construction  does  not, 
as  a  rule,  exceed  that  of  semi-fireproof  by  more 
than  twenty  per  cent. 

No  attempt  will  be  made  to  advise  the  pros- 
pective builder  as  to  the  best  materials  to  use  in 
the  construction  of  the  theatre  to  make  it  ar- 
chitecturally beautiful;  it  is  assumed  that  the 
architect  will  handle  this  feature  with  due  re- 


19 


gard  for  such  matters  as  cost,  durability,  effect 
of  climate,  etc.,  whether  the  structure  is  to  be 
built  of  terra-cotta,  brick,  artificial  or  natural 
marble,  cement  products,  tile  or  stone. 

Therefore,  having  in  mind  the  planning  of  a 
house  not  only  to  take  care  of  to-day's  business 
and  policy  but  with  an  eye  to  the  future  and  a 
possible  change  of  policy  as  well,  various  points 
will  be  considered  in  relation  to  the  designing 
and  construction  of  the  modern  vaudeville 
theatre. 

Sight  Lines 

A  great  many  theatres  have  been  built  with- 
out proper  attention  having  been  given  to  the 
matter  of  establishing  the  sight  lines,  with  the 
result  that  after  opening,  a  gi*eat  many  seats 
in  the  house  were  practically  unsalable  on  ac- 
count of  their  undesirability  as  points  from 
which  to  see  the  show. 

The  line  of  vision — or  sight  line — from  every 
seat  to  the  stage  must  be  unobstructed.  No 
patron  should  be  subjected  to  the  discomfort 
of  twisting  about  in  order  to  see  the  stage. 
If,  because  of  defective  sight  lines,  certain  seats 
are  known  to  be  undesirable,  their  sale  at  the 
box-ofiice  is  attended  by  difficulty  and  dispute. 

20 


Regardless  of  the  size  of  the  theatre,  it  is  just 
as  easy  as  not  to  locate  every  seat  in  such  a 
way  as  will  make  it  a  desirable  point  from 
which  to  see  the  show. 

When,  in  planning  the  theatre,  the  subject 
of  sight  lines  is  under  consideration,  the  builder 
and  architect  are  urged  not  to  pass  this 
point  until  they  know  that  they  have  it  ac- 
curately, properly  and  intelligently  settled.  This 
involves  the  elimination  of  columns  or  obstruct- 
ing posts;  proscenium  boxes  which  interfere 
with  the  view  from  side  seats,  and  low-hung  bal- 
cony fronts.  In  a  modern  theatre,  the  use  of 
columns  may  be  avoided  by  the  cantilever  sys- 
tem of  balcony  and  gallery  support. 

In  establishing  the  sight  lines,  the  reader  will 
not  go  wrong  if  the  following  requirements  are 
met: 

A  person  standing  at  the  back  rail,  in  the 
center  of  the  main  floor,  should  have  an  unob- 
structed view  of  the  asbestos  curtain  line  at 
eighteen  feet  above  the  stage  floor. 

A  line  drawn  along  the  edge  of  the  steppings 
in  the  balcony  or  gallery  should  intersect  the 
curtain  line  between  4  feet  6  inches  and  5  feet 
6  inches  below  the  stage. 

That  the  occupants  of  rear  seats  in  the  bal- 
cony may  have  a  full  view  of  aerial  acts,  it  is 

21 


essential  that  the  proscenium  opening  be  not 
less  than  twenty-seven  feet  high  at  the  center 
of  the  opening. 

The  balcony  steppings  in  the  front  of  the 
balcony  should  pitch  slightly  toward  the  side 
of  the  house,  being  highest  in  the  center  and 
grade  up  so  that  at  the  last  stepping  in  the 
rear  of  the  balcony  they  are  perfectly  level  all 
the  way  across  the  house.  This  pitch  to  the 
sides  in  the  front  rows  of  the  balcony  is,  of 
course,  to  be  graduated  according  to  the  width 
of  the  house.  A  width  of  one  hundred  feet 
should  pitch  about  one  foot  from  the  center. 

The  builder  is  strongly  advised  not  to  con- 
struct a  gallery,  or  second  balcony.  They  in- 
crease the  cost  of  building  out  of  all  proportion 
to  the  revenue  derived  from  the  seats.  Gallery 
seats  are  the  cheapest  in  the  house  and  the  in- 
creased height  of  the  building  is  the  costliest 
construction. 

If  it  is  deemed  necessary  to  care  separately 
for  negro  patrons,  it  is  preferable  to  do  this  by 
dividing  the  balcony  with  an  iron  rail,  seating 
negroes  in  the  rear  and  providing  a  separate 
entrance,  stairs  and  ticket-window  for  this  por- 
tion of  the  house.  On  account  of  ventilation 
requirements,    the   one-balcony   idea   is    prefer- 

22 


able,  especially  if  it  is  to  be  partly  occupied  by 
negroes. 

Returning  to  consideration  of  the  sight  line 
requirements:  The  main  floor  pitch,  accurately 
determined  and  based  upon  actual  practice  in 
the  construction  of  many  theatres,  should  be 
as  follows: 

First  Row 3'4"  below  level  of  stage  floor 

(neither  more  nor  less) 

Next  seven  rows on  same  level  as  first  row. 

Next   eight   rows pitch   floor      14"   to  the   foot 

Next   eight   rows pitch   floor      ^''  to  the   foot 

Next   eight   rows pitch   floor      5^"   to  the   foot 

Next  eight   rows pitch   floor      54"   to  the   foot 

Next  eight  rows pitch  floor    1"       to   the   foot 

Next  eight   rows pitch  floor    li^"   to  the   foot 

Next  eight  rows pitch   floor    IJ^"   to  the   foot 

Cement  floors  should  not  be  less  than  2  in. 
thick,  clear  cement  finish,  in  order  that  chairs 
may  be  securely  fastened.  Wood  floors  should 
not  be  less  than  Ij  in.  thick,  with  a  1-in.  mix- 
ture of  cement  and  cinders,  solidly  packed,  un- 
derneath the  wood  flooring.  Of  the  two  floors, 
cement  is  the  cheaper  to  lay,  though  not  as  com- 
fortable unless  there  is  a  heated  basement. 

It  is  well  established  that  not  less  than  two- 
thirds  of  the  stage  should  be  visible  to  those 
seated  in  the  extreme  side  seats.  If  the  plot 
size  is  such  that  it  is  possible  to  arrange  seating 
so  that  more  than  two-thirds  of  the  stage  will 
be  visible  to  persons  so  seated,  it  is  very  desir- 

28 


able  that  this  be  done.  To  accomplish  this  it  is 
necessary  that  the  width  of  the  house  in  propor- 
tion to  the  proscenium  opening  be  accurately 
adjusted,  and  that  proscenium  boxes  be  care- 
fully placed  so  as  not  to  obstruct  the  view  from 
the  extreme  sides. 

In  general,  it  will  be  seen  that  the  slope  or 
grade  of  the  floor  results  in  those  in  the  front 
rows  looking  slightly  upward,  those  in  about 
center  looking  in  a  practically  level  direction, 
and  those  in  rear  rows  looking  somewhat  down- 
ward, establishing  a  different  sight  line  from 
each  seat  and  each  row  to  a  given  point  on  the 
stage.  It  is  therefore  necessary  so  to  adjust 
the  pitch  or  slope  and  so  set  the  chairs  as  will 
make  it  unnecessary  for  the  patron  to  crane  or 
stretch  from  side  to  side,  up  or  down,  in  order 
to  look  past  the  person  seated  immediately  in 
front.  Every  seat  should  be  placed  at  right 
angles  with  the  line  of  vision  from  that  seat, 
and  an  aisle  should  never  be  located  down  the 
center  of  the  house. 

The  writer  hopes  that  the  important  subject 
of  sight  lines  will  receive  from  the  architect 
and  builder  the  thorough  and  careful  attention 
it  merits. 

24 


Acoustics 

The  transmission  and  reflection  of  sound 
waves  has  now  been  reduced  to  a  matter  of  ex- 
act scientific  knowledge,  and  we  are  able  accu- 
rately to  solve  the  problem  of  acoustics  as  gov- 
erned by  known  conditions.  In  other  words, 
we  now  know  under  just  what  circumstances  a 
sound  wave  may  be  projected  a  maximum  dis- 
tance; under  what  conditions  it  will  be  muffled, 
deadened  or  destroyed,  and  this  knowledge  en- 
ables us  to  secure  good  acoustic  properties  in 
the  erection  of  a  theatre. 

A  sound  wave  starts  at  the  origin  of  the 
sound  and  expands  in  all  directions  until  either 
lost  by  constantly  diminished  power,  or  reflect- 
ed, as  a  ray  of  light  would  be,  into  other  direc- 
tions until  diminished  to  inaudibility.  Thus, 
the  sound  originated  on  the  stage  strikes  the 
ceiling,  walls  and  boundaries  of  the  space  within 
the  auditorium,  and  is  reflected  from  these  sur- 
faces to  the  ears  of  the  audience.  A  certain 
portion  of  the  expanding  sound  wave  reaches 
the  ear  directly,  without  reflection.  It  is  essen- 
tial that  the  direct  wave,  or  spoken  word  trans- 
mitted as  sound,  reach  the  ear  at  the  same  time 
as  the  reflected  wave  or  word.  If  it  does  not  do 
this,  then  the  sound  or  word  is  broken  into  two 

25 


or  more  bits,  each  reaching  the  ear  an  infinites- 
imal fraction  of  time  apart,  with  the  result  that 
the  word  is  confused,  difficult  to  understand  or 
to  hear  clearly.  The  ear  is  not  sensitive  enough 
to  catch  the  distinct  separation  of  these  waves, 
except  in  case  of  a  pronounced  echo,  but  does 
appreciate  that  the  sound  has  become  muffled, 
indistinct  and  hard  to  "understand." 

To  make  this  still  more  clear,  let  us  assume 
that  a  pistol  is  fired  on  the  stage.  The  sharp 
report  radiates  from  its  source  in  every  direc- 
tion; that  going  backward  is  reflected  out  front 
by  the  back  wall  or  the  scenery;  some  goes  up 
(if  there  is  no  ceiling  on  the  set)  and  is  lost  in 
the  rigging;  some  goes  out  into  the  auditorium, 
strikes  the  walls,  ceilings,  draperies,  etc.,  and 
is  by  these  reflected  into  space  again,  but  being 
confined  to  the  auditorium,  does  not  diffuse  it- 
self into  open  atmosphere.  Then,  part  of  the 
wave,  not  reflected,  reaches  directly  from 
the  source  to  the  ear.  Now,  as  sound  travels 
with  extreme  rapidity,  it  is  possible  so  to  ar- 
range the  auditorium  that  each  reflected  wave 
will  reach  the  ear  at  practically  the  same  instant 
as  the  direct  wave.  The  surfaces  which  the 
sound  is  to  strike  must  be  taken  into  consider- 
ation, as  to  material  and  construction;  the  very 
high  ceiling,   deeply  recessed  box  and  echoing 


dome  should  be  avoided;  these  not  only  dissi- 
pate the  sound  originated  on  stage  and  "lose"  it 
by  repeated  re-reflections  within  their  own  con- 
fines, but  as  well  bring  it  tardily  to  the  ear  of 
the  audience,  and  confuse  its  clarity  and  sharp- 
ness. The  echo  is  but  a  sound  wave  reflected 
a  longer  distance  and  consequently  reaching  the 
auditor}^  sense  an  appreciable  time  after  the  di- 
rect wave  has  been  received. 

The  acoustic  properties  of  the  auditorium 
will  therefore  be  largely  governed  by  the 
height  of  the  ceiling  or  "dome,"  the  number  of 
nooks  and  crannies  in  which  the  waves  may  be 
lost  or  muffled  (every  obstruction  to  their 
smooth  passage  or  direct  reflection  operating  to 
deaden  them),  the  material  of  which  the  walls 
are  made  and  covered,  the  character  of  draper- 
ies, curtain,  etc. 

If  the  sound  wave  is  treated  as  a  light  ray 
would  be,  and  its  reflections  thus  studied,  it 
becomes  a  simple  matter  to  calculate  just  what 
the  effect  of  certain  structural  arrangements 
will  have  upon  the  acoustics  of  the  theatre. 

Heating  and  Ventilation 

There  are  many  types  of  heating  systems, 
but  despite  the  often  plausible  and  convincing 

27 


arguments  of  their  supporters,  systems  other 
than  "direct  radiation"  with  live  steam  as  the 
heating  agent,  have  in  actual  practice,  fallen 
short  of  the  requirements  of  the  theatre,  which 
here,  as  in  most  other  departments,  presents 
problems  peculiar  to  itself. 

Here  we  have  a  large  roofed  auditorium 
which  prior  to  the  time  of  shows  requires  con- 
siderable heat  to  be  generated  and  radiated  to 
warm  it;  then  during  the  brief  half-hour  that 
it  is  being  filled  with  people,  the  doors  are  con- 
stantly opened,  requiring  still  more  heat  to  keep 
it  from  being  chilled;  yet  shortly  after  it  is 
filled,  the  animal  or  body  heat  given  off  by  the 
people  in  it  necessitates  a  rapid  reduction  in  the 
amount  of  heat  being  radiated,  which  is  re- 
placed by  that  from  the  bodies  of  the  audience. 

Ample  boiler  or  generating  capacity,  com- 
bined with  intelligently  calculated  radiating  sur- 
face, properly  placed,  and  the  use  of  steam  as 
the  heating  agent,  has  again  and  again  proved 
its  superiority  to  every  other  known  heating 
system,  and  in  the  writer's  opinion  will  hold  its 
position  of  supremacy  in  this  field. 

As  a  general  proposition,  the  radiation  should 
be  greater  in  the  lobby  and  near  outside  open- 
ings, than  in  spaces  walled  up  or  closed;  for  if 
the  cold  air  which  comes  into  the  house  during 

28 


the  time  it  is  being  filled  and  emptied  is  heated 
at  the  point  of  entrance,  the  draft  occasioned 
will  not  be  so  noticeable  or  so  injurious  to 
patrons  as  when  this  cold  air  is  not  at  least 
partly  heated  at  the  point  of  entrance. 

It  is  not  to  be  understood  that  the  temper- 
ature is  to  be  changed,  but  that  a  reduction  in 
steam  pressure,  immediately  after  the  house  is 
filled,  is  essential  to  allow  for  the  heat  added  to 
the  atmosphere  by  radiation  from  the  human 
bodies  within  the  theatre. 

Architect's  plans  should  provide  for  placing 
all  radiators  in  lobby,  foyer,  incidental  rooms 
and  auditorium,  in  recesses  in  walls.  After  be- 
ing placed  they  should  be  protected  by  a  one-inch 
mesh  brass  or  iron  wire  guard,  which  should  be 
hinged  or  arranged  to  open  so  that  space  may 
be  cleaned,  radiator  repaired,  etc.  On  the  stage, 
if  radiators  are  not  in  recesses  and  protected, 
as  suggested,  by  meshed  guards,  they  may  be 
placed  on  walls  at  least  eighteen  feet  above  the 
stage  floor,  so  as  to  "clear"  the  scenery  packs, 
etc.  As  hot  air  rises  quickly,  if  they  are  placed 
so  high  considerable  heat  will  be  wasted,  there- 
fore it  is  preferable  to  recess  stage  radiators 
into  walls  at  floor  level. 

The  problem  of  properly  heating  the  theatre 
is  so  closely  connected  with  that  of  ventilating 

29 


it  that  the  two  subjects  are  treated  under  one 
heading. 

Air  is  rapidly  vitiated  in  an  auditorium  filled 
with  people,  and  if  kept  warm,  but  not  renewed 
with  fresh  air,  will  soon  sicken  the  audience — 
cause  fainting  and  headaches  and  have  other 
generally  disagreeable  results. 

There  are  various  ventilating  systems,  each 
with  its  supporters,  and  each  possessing  its  good 
points.  There  is  the  system  which  contem- 
plates forcing  air,  by  means  of  electric  fans, 
through  a  spray  of  cooled  water  or  over  chilled 
pipes,  or  through  ice  vaults  into  the  theatre,  and 
exhausting  it  through  ceiling  ports  after  it  has 
been  vitiated;  there  is  a  system  which  contem- 
plates forcing  the  air  in  at  the  ceiling  and  ex- 
hausting it  through  the  floor  ducts,  and  there 
is  the  system  which  provides  for  forcing  in  a 
large  volume  of  air  and  permitting  it  to  find  its 
own  means  of  egress,  through  doors,  windows, 
etc.  Ceiling  and  wall  fans  are  often  used  to 
supplement  these  systems. 

The  writer  does  not  recommend  any  special 
system  above  any  other,  but  he  does  insist  upon 
the  importance  of  a  proper  system  of  ventila- 
tion, to  be  effective  and  yet  economical  in  oper- 
ation, to  keep  the  house  cool  in  summer  and 
fresh  and  sweet-smelling  in  winter.     Foresight 

30 


in  this  matter  will  make  a  theatre  an  "all-year" 
enterprise  and  the  original  expense  of  installa- 
tion will  be  more  than  justified  by  the  increase 
in  hot-weather  patronage. 

Plumbing 

It  may  be  well  to  emphasize  a  few  points  in 
connection  with  this,  and  to  lay  stress  upon  the 
necessity  of  providing  amply  sized  sewer  con- 
nections; waste  pipes  being  laid  with  sufficient 
"fall"  and  of  size  large  enough  to  take  care  of 
their  load;  water  supply  pipes  of  sufficient  size 
to  carry  a  good  "head"  of  water  to  the  highest 
fixtures;  of  installing  cleaner's  sink  connected 
with  hot  and  cold  water  on  each  floor  of  the 
theatre  and,  on  dressing-room  floors,  large  lava- 
tories for  each  dressing-room  with  hot  and  cold 
water  supply,  and  hose  connection  for  one-inch 
line  at  front  of  building,  in  lobby,  on  stage  and 
under  stage  for  use  of  cleaners. 

Exits 

In  another  chapter  the  subject  of  panics, 
danger  of  insufficient  exits,  etc.,  is  treated  at 
length.  The  purpose  of  this  article  is  to  sug- 
gest that  in  planning  the  theatre  more  exits 
than  the  law  requires  be,  if  possible,  provided; 

31 


that  the  exit  lights  be  placed  in  metal  boxes,  re- 
cessed into  the  wall  above  doors  and  decorated 
with  ornamental  plaster  or  stucco  frame  or 
front,  harmonizing  with  the  other  decorations 
of  the  theatre. 

There  should  be  not  less  than  two  exits  on 
each  side  of  the  house  for  each  floor.  They 
should  be  not  less  than  5  feet  wide  and  open 
outward,  entirely  into  clear  and  flat  back 
against  the  outside  wall.  The  two  exits  on 
each  side  should  be  separated  from  each  other 
as  widely  as  possible.  Practically  every  city  in 
the  country  regulates  width  and  location  of  ex- 
its by  ordinance,  and  the  foregoing  meets  the 
average  requirements.  If  the  city  does  not  reg- 
ulate this  feature  of  construction,  the  state  laws 
usually  do,  and  both  should  be  carefully  con- 
sulted in  planning  the  construction.  "Exits," 
within  the  meaning  of  the  law,  are  sometimes 
considered  as  distinct  from  the  lobby  or  en- 
trance doors. 

As  a  general  proposition  there  should  be  not 
less  than  25  feet  of  lobby  door  openings,  though 
this  need  not  all  be  in  one  place.  For  instance, 
the  lobby  might  be  15  feet  wide,  with  15  feet 
of  lobby  door  openings,  and  then  10  or  12  feet 
of  doors  may  be  put  in  the  side  of  the  audi- 
torium, if  it  faces  on  a  street  or  an  alley  which 

32 


leads  to  a  street.  The  orchestra  floor  exit  area, 
with  two  5-foot  exits  on  each  side,  and  25  feet 
through  or  in  connection  with  lobby,  gives  a 
total  of  45  feet  of  exit  space  for  the  main  floor. 

Lobby 

The  treatment  of  the  lobby  as  to  decorations, 
etc.,  will  naturally  require  careful  attention. 
As  to  its  size,  that  point  will  very  likely  be 
governed  by  the  size  and  lay-out  of  the  plot,  and 
the  building  codes,  but  it  is  suggested  that  with 
the  constantly  rising  value  of  property,  and  in 
accordance  with  modern  practice  in  the  larger 
cities,  the  lobby  space  be  limited  to  what  will 
be  required  actually  to  handle  the  crowds,  and 
not  provide  a  loafing  place  for  the  populace. 
Toilets,  check-rooms,  smoking-rooms,  etc., 
should  not  be  planned  with  entrances  off  the 
lobby,  but  all  such  facilities  placed  within  the 
theatre,  so  that  those  using  them  must  have 
passed  the  door-man;  this  is  assurance  that  they 
will  be  used  only  by  patrons  of  the  theatre,  and 
not  by  the  public  at  large.  The  public  tele- 
phone booth  may  be  located  off  the  lobby,  and 
should  be  provided  for;  its  facilities  should  be 
available   without   entrance   to   the   theatre,    as 

$5 


patrons  often  wish  to  call  friends  about  tickets 
when  they  purpose  purchasing,  etc. 

All  radiators  should  be  recessed,  as  has  been 
stated,  provision  should  be  made  for  wall  frames 
and  "lobby  display"  of  photos,  etc. 

Foyer 

Sanitary  drinking  fountains  and  entrances  to 
ladies'  and  gentlemen's  retiring  rooms  should  be 
located  here.  Also,  if  desired,  a  room  in  which 
trays,  cups,  etc.,  may  be  kept  for  ushers'  use  in 
passing  water.  If  this  is  done,  pipe  water  here 
for  cooler.  All  doors  should  be  equipped  with 
approved  door  checks  that  will  close  them 
noiselessly,  but  surely.  Arrange  both  ladies' 
and  gentlemen's  retiring  rooms  so  that  persons 
passing  in  foyer  cannot  look  into  them. 

The  foyer  should  be  twelve  to  fifteen  feet  in 
width,  from  the  standing  rail  to  lobby  doors  or 
back  wall.  This  not  only  will  provide  ample 
space  in  which  to  handle  patrons  to  the  various 
aisles,  but  sufficient  revenue  earning  "standing 
room"  to  justify  the  width  upon  those  occasions 
when  all  seats  are  sold. 

Boxes  and  Loggias 

Properly  located,  boxes  add  considerably  to 

84i 


the  dignity  and  decorative  effects  of  the  the- 
atre; and  there  are  a  good  many  people  who 
prefer  to  sit  in  them  even  if  they  are  not  the 
best  location  in  the  house.  Boxes  and  loggias 
bring  a  larger  revenue,  per  seat,  than  other 
sections  of  the  house.  Loggias,  located  in  front 
of  the  balcony  and  railed  off  into  enclosures, 
seat  four  to  a  dozen  persons.  Behind  these 
the  "first  rows"  of  the  balcony  command  the 
usual  balcony  price,  while  the  loggia  seats  com- 
mand the  price  of  main  floor  accommodations. 
It  is  good  practice  to  have  these  a  little  more 
elaborately  carpeted  than  the  other  section  of 
the  balconj^  with  chairs  of  the  same  types  as 
are  used  in  the  boxes. 

The  Stage 

As  to  size — if  possible,  let  the  minimum  be 
75  feet  into  clear  from  wall  to  wall,  and  40 
feet  from  curtain  line  to  back  wall.  The  au- 
thor realizes  that  this  must  obviously  be  regu- 
lated by  the  size  of  the  plot  and  the  space  avail- 
able, yet  the  plot  should  be  chosen,  if  possible, 
with  a  view  not  only  to  securing  sufficient  room 
for  an  ample  capacity  in  the  auditorium,  space 
for  lobby,  areas,  exit-ways,  etc.,  but  as  well  to 
afford  adequate  stage  room. 

36 


Vaudeville  shows  come  along  with  a  rather 
voluminous  arra}^  of  properties,  sometimes;  for 
instance,  a  diving  act  with  a  big  tank,  an  animal 
act  with  a  number  of  cages,  a  sketch  with  spe- 
cial set  and  furniture,  or  a  singing  act  with  a 
grand  piano;  and  limited  stage  room  hampers 
the  proper  presentation  of  such  shows. 

The  proscenium  opening  should  be  propor- 
tioned about  as  follows: 


WIDTH 

r-PR08CENIUM 

AHCH^ 

OF     THEATRE 

WIDTU 

HEIGHT 

60  feet 

80  feet 

24  feet 

60   feet 

84  feet 

80  feet 

70  feet 

40  feet 

34  feet 

80  feet 

44  feet 

86  feet 

90  feet 

46  feet 

88  feet 

In  general,  the  rule  is  that  the  width  of  the 
proscenium  should  be  six  feet  greater  than  its 
height. 

The  floor  of  the  stage  "in  one"  should  be  laid 
in  maple  or  other  hardwood,  and  the  balance  of 
the  stage  in  good,  clear,  narrow  T  &  G  floor- 
ing, free  from  knots,  thoroughly  kiln  dried  and 
seasoned.  No  other  floor  is  required  to  stand 
the  abuse  that  a  stage  floor  is  called  upon  to 
sustain,  and  to  be  right,  it  must  be  securely 
laid.  The  flooring  should  run  up  and  down; 
that  is,  be  laid  from  apron  to  back  wall,  not 
from  side  wall  to  side  wall. 

36 


The  fly-gallery,  located  on  the  "prompt" 
side,  with  thoroughly  secured  pin  rail,  floor, 
etc.,  should  run  from  back  wall  to  front  wall  of 
stage,  and  if  there  is  room  on  stage,  it  is  well 
to  locate  a  pin  rail  there  also,  to  which  work- 
ing lines  may  be  run;  this  in  some  cases  elim- 
inates one  employee,  through  lack  of  need  for 
a  flyman.  In  any  event,  a  small  pin  rail  should 
be  located  on  stage  in  the  average  theatre,  for 
use  with  acts  requiring  a  "life  line,"  etc.  The 
floor  of  the  fly-gallery  should  be  at  least  24 
feet  in  height  above  the  stage  and  8  to  14  feet 
in  width.  The  pin  rails  should  be  located  front 
and  back  of  the  gallery,  the  front  rail  for  work- 
ing lines  and  the  back  one  for  "dead"  lines. 

About  10  feet  above  the  stage  floor,  on  both 
sides  of  the  proscenium  arch,  should  be  firmly 
fastened  platforms  for  use  of  spotlight  oper- 
ators required  by  big  or  spectacular  acts. 

The  rigging  loft  should  not  be  less  than  50 
feet  above  stage.  Standpipes,  fire-fighting  equip- 
ment, fire  alarm  box,  should  all  be  so  placed 
that  scenery  can  not  be  packed  against  or  over 
them;  and  they  should  be,  preferably,  placed  in 
recesses  in  the  walls,  so  as  to  leave  the  surface 
of  the  stage  walls,  so  far  as  practicable,  free  of 
obstruction. 

The  gridiron,  or  rigging  loft,  needs  to  be  of 

87 


very  secure  construction,  as  it  is  often  required 
to  carry  a  very  heavy  load.  There  should  be 
6  feet  of  headroom  between  gridiron  and  roof. 

The  asbestos  curtain  of  approved  weight  and 
construction,  running  in  sheet  iron  runways,  is 
now  so  universally  required  by  law  that  pro- 
vision for  one  of  these  is  not  likely  to  be  over- 
looked. Counterweighting  and  balancing  it  so 
that  it  runs  easily,  smoothly  and  noiselessly  is, 
of  course,  essential.  The  asbestos  curtain  should 
be  2  feet  larger  each  way,  side  and  top,  than 
the  opening. 

The  loading  door  should  not  be  less  than  8 
feet  wide  by  16  feet  high,  with  a  smaller  door 
inside  the  larger  one,  for  use  when  it  is  not  nec- 
essary to  open  the  bigger  door.  Care  should  be 
taken  that  this  is  securely  hung  and  swings 
freely  when  opened. 

The  switchboard  should  be  placed  on  the 
"prompt"  side  of  the  stage,  its  edge  about  6 
feet  in  from  proscenium  frame  (if  located  on 
stage)  and  should  stand  3  feet  from  the  wall, 
with  wall  recessed  behind  it  so  as  to  pro- 
vide ample  working  space.  It  should  be  so  lo- 
cated that  the  electrician  can  see  the  action  tak- 
ing place  "in  one,"  through  an  opening  which 
he  will  doubtless  provide  for  that  purpose,  close 
to  the  wall,  in  the  first  entrance.     In  the  larger 

38 


theatres,  switchboards  are  frequently  located 
above  the  floor  of  the  stage,  but  this  should  be 
done  only  when  it  is  known  that  the  crew  will 
be  so  numerous  as  to  provide  the  electrician  with 
sufficient  assistants  so  that  he  will  not  have  any 
duties  to  perform  requiring  his  presence  on  the 
floor  of  the  stage  during  the  show.  In  general, 
it  will  make  for  economy  to  locate  the  board 
on  the  floor,  and  it  will  not  lessen  its  efficiency 
or  that  of  its  operator. 

Incidental  Rooms 

Strange  as  it  may  seem,  it  is  not  unusual  for 
theatres  to  be  planned  and  built  without  proper 
provision  for  the  various  rooms  needed  for  ac- 
commodation of  the  several  departments  of  the 
house.  To  provide  a  check  against  this  possible 
oversight,  the  rooms  or  quarters  now  consid- 
ered most  essential  in  the  modern  theatre  are: 

Manager's  office;  superintendent's  office;  jan- 
itor's and  cleaners',  ushers'  dressing,  ladies', 
gentlemen's,  supply  (adjacent  to  manager's  or 
superintendent's),  property,  electrician's,  stage 
manager's,  carpenter's  and  musicians'  rooms, 
toilets  and  any  others  deemed  necessary  for  the 
requirements  of  a  particular  theatre. 

These  should  be  allowed  for,  and  their  ven- 

39 


tilation  and  lighting  included  in  the  general 
planning. 

If  practicable,  a  cleaners'  room,  with  running 
hot  and  cold  water  and  large  slop-sink,  should 
be  planned  for  each  floor  of  the  theatre,  with 
space  within  the  closet  for  hanging  mops, 
brooms,  dust  cloths,  dusters,  etc.  A  similar 
room  should  be  placed  under  the  stage. 

Boiler  rooms  should  be  located  with  special 
reference  to  street  level,  and  to  facilitate  the 
handling  of  fuel  and  ashes. 

The  fan  room — as  part  of  the  ventilating  sys- 
tem— is  generally  located  under  the  stage.  (The 
elimination  of  noise  from  pumps,  fans  and  fan 
motors  necessitates  placing  these  in  isolated 
rooms. ) 

Motion-Picture    Booth 

The  physical  structure  of  the  motion-picture 
booth  is  now  almost  universally  regulated  by 
law,  as  well  as  the  number  and  size  of  openings, 
the  character  and  type  of  shutters,  windows, 
ports,  etc.,  which  are  permissible. 

The  booth  should  be  absolutely  rigid,  of  suf- 
ficiently heavy  construction  to  eliminate  all  vi- 
bration; its  fire  doors  and  traps  should  all  work 
smoothly  and  as  nearly  noiselessly  as  possible. 

40 


It  should  be  built  to  accommodate  two  ma- 
chines, a  spotlight  and  a  dissolver  or  lantern- 
slide  projector.  In  planning  the  booth,  it  is 
well  to  be  as  generous  as  possible  in  the  allow- 
ance of  room  and  ceiling  height,  as  well  as 
equipment  of  vents  and  exhaust  fans  to  the 
open  air. 

To  accommodate  two  machines,  the  booth 
should  be  not  less  than  8  feet  by  10  feet  with  a 
7- foot  ceiling;  three  machines  require  about  8 
feet  by  14  feet.  Observation  ports  should  be 
about  8  inches  by  12  inches,  placed  at  such 
height  from  the  floor  that  the  operator,  stand- 
ing about  3  feet  from  the  port,  at  his  ma- 
chine, can  see  the  entire  screen  without  cran- 
ing. In  many  booths  it  is  considered  best  to  se- 
curely fasten  clear  plate  glass  in  these  ports  as 
a  fire  guard  in  addition  to  the  metal  shutter. 

The  Electrical  System 

The  writer  believes  that  it  should  not  be  nec- 
essary, in  this  enlightened  age,  to  emphasize 
the  desirability,  indeed,  the  obligation,  of  most 
careful  planning  and  installation  of  the  elec- 
trical system  of  a  theatre;  nor  does  he  purpose 
writing  a  technical  treatise  on  electricity  and  its 
control;  but  he  feels  it  wise  to  call  attention  to 

41 


and  discuss  certain  features  which  within  his 
observation  do  not  always  receive  the  consider- 
ation they  deserve,  involving  costly  errors  and 
oversights  which  may  easily  be  avoided. 

It  is  suggested  that  at  the  time  the  plans  for 
wiring  are  made  there  be  provision  made  for 
the  laying  of  extra  lines  of  conduit  between  the 
various  parts  of  the .  theatre,  and  for  extra 
switches  to  control  wiring  which  may  at  some 
future  time  be  laid  in  such  extra  lines.  It  is 
almost  invariably  the  case  that,  after  the  wiring 
is  completely  installed  and  the  theatre  is  opened, 
a  need  occurs  for  additional  lines  and  outlets; 
it  is  much  less  costly  to  have  installed  extra 
lines  and  switch  controls  at  the  time  of  con- 
struction, than  afterwards. 

As  a  general  proposition  established  codes, 
local  ordinances  and  regulations  cover  in  detail 
the  type  of  construction  which  is  permitted,  and 
there  is  more  or  less  uniformity  in  the  codes  in 
effect  in  various  cities.  Usually  they  are  based 
upon  practices  recommended  by  the  National 
Board  of  Fire  Underwriters,  and  often  they  re- 
quire the  use  of  fixtures  which  have  been  offi- 
cially approved  by  this  Board.  Regardless  of 
whether  or  not  this  is  a  legal  requirement,  it  is 
well  to  follow  the  recommendations  of  this 
Board,  and  permit  the  use  only  of  such  conduit, 

42 


cable,  outlets,  fixtures,  etc.,  as  bear  its  approval. 
The  approval  of  the  Underwriters'  Laboratories 
is  given  only  after  exhaustive  tests  of  the  ar- 
ticles examined. 

Though  the  electrician  may  laugh  at  empha- 
sis being  laid  upon  the  point  of  seeing  that  cer- 
tain obvious  things  are  done,  nevertheless  the 
failure  to  make  it  a  condition  of  the  contract 
for  the  electrical  work  that  these  obvious  things 
be  done  has  cost  many  a  theatre  much  money. 

In  wiring — all  wiring — a  careful  estimate 
should  be  made  of  the  load  the  wire  is  to  carry. 
For  instance,  if  it  is  the  marquee  or  front  sign 
that  is  being  planned,  the  electrician  should 
be  THOROUGHLY  postcd  as  to  what  size  of 
lamps  will  be  used,  and  how  many  of  them. 
Then,  it  is  well  to  just  about  double  the  ca- 
pacity of  the  wire,  for  the  reason  that  as  time 
passes  we  incline  to  the  use  of  more  and  more 
light,  and  the  system  originally  planned  to  pro- 
vide for  a  certain  number  of  lamps  of  a  certain 
size,  refuses  to  take  care  of  the  same  number 
in  an  increased  size.  For  one  reason  or  an- 
other, it  may  be  desired  to  use  larger,  brighter 
lamps  than  were  originally  planned,  and  it  is 
well  to  design  the  original  installation  with  this 
in  view. 

If  wiring  is  overloaded  beyond  its  accurately 

43 


estimated  capacity,  it  will  heat,  burn  off  insula- 
tion, and  perhaps  set  the  building  afire.  There- 
fore, in  ALL  WIRING,  anticipating  that  the 
future  may  bring  us  something  different  in 
lamps  from  those  we  are  now  using,  as  in  the 
past  we  have  progressed  from  the  carbon  to  the 
tungsten  filament,  and  then  to  the  nitrogen 
mazda,  the  possible  wish  to  use  heavier,  bigger 
lamps  should  be  provided  for,  and  original  lines 
built  that  will  carry,  if  desired,  greater  loads 
than  first  planned  for.  The  difference  in  cost 
of  original  installation  will  be  slight  compared 
to  advantages  gained  in  later  years. 

Contracts  for  the  electrical  work  should  spec- 
ify that  the  conduit,  wire,  switches,  fixtures  and 
appliances  shall  be  of  a  type  approved  by  the 
National  Board  of  Underwriters,  and  after  a 
contract  has  been  made  up,  before  its  sig- 
nature, it  should  be  submitted,  with  a  request 
for  advice  and  suggestions,  to  the  local  insur- 
ance experts  and  to  the  local  fire  marshall, 
or  other  proper  department  of  the  city  admin- 
istration. 

A  few  general  suggestions  in  connection  with 
the  making  of  the  contract  for  this  important 
part  of  the  construction  work  are  submitted: 

1st:  Contract  should  only  be  awarded  to  a 
concern  which  is  thoroughly  responsible  finan- 

44 


cially  and  is  experienced  in  strictly  theatrical 
work,  or  which  will  provide  an  experienced  su- 
perintendent, familiar  with  theatrical  installa- 
tions, to  oversee  the  work  generally. 

2nd:  Contract  should  carry  a  clause  requir- 
ing the  contractor  to  be  prepared  to  install  his 
part  of  the  work  in  such  manner  and  at  such 
times  as  will  not  delay  the  building  or  other 
contractors,  and  a  clause  should  carry  a  pen- 
alty provision  for  non-compliance. 

3rd:  After  completion  of  the  work,  and 
prior  to  acceptance,  each  floor,  each  main  and 
each  individual  line  shall  be  free  from  grounds, 
breaks  or  short-circuits;  no  branch  circuit  shall 
show  insulation  resistance  below  25,000  ohms, 
the  test  to  be  made  under  supervision  of  a  rep- 
resentative of  the  Board  of  Underwriters,  city 
electrician  or  other  chosen  parties,  in  conjunc- 
tion with  the  architect. 

4th:  Installation  to  be  complete  in  e'\t:ry 
respect,  and  any  item  omitted  from  specifica- 
tions, necessary  to  the  proper  installation  and 
operation  of  the  equipment,  shall  be  installed 
by  the  contractor  without  extra  charge.  (This 
puts  responsibility  up  to  the  contractor  for  see- 
ing that  specifications  are  complete.) 

5th:  All  conduit  and  conduit  fittings  to  be 
of  enameled,  rigid  type,  so  installed  that  wires 

46 


can  be  removed  without  defacing  plaster,  mar- 
ble or  woodwork.  Conduits  to  be  continuous 
from  cut-out  boxes  to  outlets,  and  of  sufficient 
size  to  permit  the  easy  insertion  or  withdrawal 
of  wires,  without  injury  to  installation.  All 
conduits  to  be  free  from  burrs;  to  have  water- 
tight, red-leaded  joints;  to  be  installed,  so  far 
as  practicable,  after  floor  beams  are  laid;  fas- 
tenings to  be  about  4  feet  apart  and  secured 
by  approved  straps. 

6th:  At  each  outlet,  flush  switch  receptacle, 
etc.,  approved  outlet  boxes  are  to  be  set  flush 
with  plaster  line. 

7th:  Fixture  hangers  to  be  installed  at  each 
bracket  and  ceiling  outlet  to  be  of  suitable  and 
safe  type,  of  sufficient  strength  safely  to  sup- 
port the  fixture  to  be  installed. 

8th:  All  wire  used  to  be  of  hard  grade  cop- 
per, 98  per  cent,  conductivity,  with  high-grade, 
approved,  rubber  insulation.  No  wire  smaller 
than  No.  14  B&S  gauge  for  circuits  in  front  of 
curtain  line,  or  No.  12  B&S  gauge  back  of  cur- 
tain line  shall  be  used,  and  all  wire  larger  than 
No.  8  B&S  gauge  shall  be  stranded. 

9th:  All  work  must  comply  in  every  respect 
with  codes,  city  ordinances  and  with  Under- 
writers' requirements. 

10th:     All  temporary  lighting  and  lights  re- 

46 


quired  during  construction  and  equipment  to  be 
furnished  and  maintained  by  the  contractor 
during  prescribed  working  hours;  overtime  as 
agreed  upon. 

11th:  Contractor  to  pay  all  costs  of  secur- 
ing motor,  lamp,  wiring  and  installation  inspec- 
tions by  the  city  officials  and  Underwriter's 
representatives,  and  shall  be  responsible  for  se- 
ciu'ing  from  the  necessary  sources  certificates 
showing  approval  of  the  installation,  and  the 
architect  and  builder  shall  not  accept  the  in- 
stallation or  consider  contract  completed  until 
this  has  been  done  and  the  proper  certificates 
turned  over. 

12th:  All  piping  in  front  of  curtain  line  to 
be  concealed  if  possible,  but  on  stage  may  be 
"open"  or  unconcealed. 

13th:  All  panels  to  be  of  a  specified  gauge 
of  metal,  with  self-closing  doors  fitted  with 
snap  locks  and  keys.  Marbleized  slate  not  less 
than  one  inch  thick  shall  be  used  for  mounting 
buss  bars  and  switches;  liberal  wire-way  gut- 
ters provided;  bottom  barrier  to  be  set  at  an 
angle  of  45  degrees  to  prevent  bottom  of  cab- 
inet being  used  as  receptacle  for  miscellaneous 
articles. 

14th:  Specifications  to  be  carefully  and  com- 
pletely drawn  by  architect,  checked  by  city  elec- 

47 


trician  or  other  proper  official,  re-checked  by- 
representative  of  National  Board  of  Under- 
writers, and  EVERY  effort  made  to  see  that  they 
are  complete  in  every  detail. 

We     will     now     consider     separately,     the 

HOUSE  LIGHTING,  STAGE  LIGHTING  and  INCIDEN- 
TAL electrical  system: 

House  Lighting:  Including  front  of  theatre, 
lobby,  foyer,  auditorium,  incidental  rooms,  and 
in  general  all  lighting  in  front  of  curtain  line. 

Inasmuch  as  the  failure  of  lights,  wholly  or 
partly,  may  not  only  ruin  an  act  or  a  show, 
but  may  cause  panic  as  well,  emphasis  is  again 
laid  upon  the  necessity  of  the  house  lighting 
system  being  of  an  approved  type  and  in  ac- 
cordance with  codes. 

In  recent  years  a  truly  wonderful  improve- 
ment has  been  made  in  lighting  systems  and 
methods;  in  fact,  the  old  style  of  direct  light- 
ing from  ornate,  elaborate,  dust-gathering  fix- 
tures has  become  almost  obsolete. 

In  general,  there  are  now  three  recognized 
systems  of  lighting,  termed  respectively  direct, 
SEMI-DIRECT  and  indirect.  Of  these  the  first- 
named  is  the  oldest,  and  now-a-days  the  least 
desirable.  It  was  thought  that  the  direct  sys- 
tem provided  a  hundred  per  cent  of  lighting 
efficiency,  but  it  is  now  known  that  it  does  not; 

48 


furthermore,  this  system  results  in  a  spotty 
glare,  deep  shadows,  harsh  contrasts  and  eye- 
strain, and  its  only  advantage  is  a  slight  saving 
in  current  consumption  as  compared  with  the 
semi-indirect  and  indirect  systems. 

The  DIRECT  system  is  one  where  the  light 
is  thrown  directly  outward  or  downward,  with 
or  without  shades,  the  globes  being  exposed  to 
the  sight  and  reflecting  their  rays  directly  into 
the  illuminated  area. 

The  SEMI-INDIRECT  system  is  one  in  which 
the  fixtures  reflect  the  greatest  volume  of  light 
emitted  against  the  ceiling  or  walls,  but  permit 
some  of  the  illumination  to  be  diffused  through 
translucent  mediums  in  the  bottom  or  sides  of 
fixtures. 

The  INDIRECT  system  is  one  where  the  fixtures 
are  of  the  inverted-bowl  type,  reflecting  light 
against  the  ceiling  and  walls,  whence  it  is  re- 
reflected  into  the  illuminated  area.  This  results 
in  filling  the  atmosphere  with  a  soft,  diffused 
glow,  yet  no  glaring  point  is  visible  to  the  eye. 

A  combination  of  the  semi-indirect  and  in- 
direct is  sometimes  preferred,  beautiful  effects 
being  thus  attained. 

Another  extremely  effective  modern  system 
of  using  indirect  lighting  provides  for  the  in- 
stallation of  the  lamps  behind  ceiling  coves,  and 

49 


there  is  a  splendid  type  of  lamp  with  a  half- 
silvered  interior,  which  acts  as  a  reflector,  es- 
pecially suited  to  this  use. 

A  carefully  studied,  intelligently  planned  sys- 
tem of  indirect  lighting  will  result  in  a  beauti- 
ful effect,  well  worth  achieving,  and  affording 
positive  eye-comfort  to  patrons.  A  theatre  fully 
lighted,  so  that  programs  may  be  read  with 
ease,  yet  without  a  single  glaring  point  of  light 
being  visible  to  the  eye,  is  something  very  at- 
tractive and  is  a  potent  proof  of  the  modern- 
ity of  the  house.  The  soft,  light-filled  at- 
mosphere shows  ornamentation,  draperies  and 
fixtures  to  infinitely  better  advantage  than  does 
the  glare  of  the  direct  system. 

The  use  of  other  than  pure  white  lamps  should 
be  studied;  often  a  half-and-half  amber  and 
white  lighting  is  richer  and  more  effective. 

For  stairways,  special  lighting  should  be  pro- 
vided. Fixtures  and  lamps  made  especially  for 
this  use  are  now  catalogued.  These  lights  should 
never  be  turned  out  during  a  performance  or 
while  there  are  patrons  in  the  house — turning 
them  off  may  net  an  expensive  damage  suit. 
Therefore,  they  should  be  so  arranged  as  to 
permit  their  use  during  dark  changes,  etc. 

Expert  advice  is  available  on  lighting  ques- 
tions from  the  makers  of  fixtures  and  lamps, 

50 


and  it  is  advisable  that  the  prospective  builder 
avail  himself  thereof. 

The  "Exit"  light  circuit  must  also  burn  all 
the  time  the  house  is  open,  and  this  should  be 
taken  into  consideration  in  arranging  the  cir- 
cuits and  fixtures. 

In  planning  the  theatre,  provide  liberally  for 
electrical  illumination  of  the  front.  A  famous 
showman  once  said,  "White  paint  and  white 
lights  will  draw  people,  and  flies" — and  this 
is  especially  true  with  reference  to  white  lights 
and  many  of  them.  The  electric  sign — or  signs 
— on  the  front  should  receive  consideration  in 
the  form  of  a  liberal  appropriation.  As  the 
reader  knows,  there  are  numberless  different  de- 
signs of  "still,"  "reading"  and  "flashing"  signs, 
and  these  range  in  cost  from  about  $15  for  the 
cheapest  type  of  "still"  sign,  to  thousands  for 
the  elaborate  "reading"  and  "flashing"  com- 
binations. Concerns  making  such  signs  will 
gladly  submit  suggestions  and  prices.  Do  not 
build  a  beautiful,  modern  and  costly  theatre 
without  providing  a  "front"  that  will  attract  at- 
tention and  patronage. 

Stage  Lighting:  The  impossibility  of  cov- 
ering this  subject  in  thorough  detail,  and  so  that 
every  condition  which  might  arise  in  any  the- 
atre will  be  treated,   is   apparent  even  to  the 

51 


laj^man,  but  an  effort  will  be  made  to  handle 
this  important  department  with  an  idea  of  sug- 
gesting standard  practice,  approved  by  favor- 
able experience,  and  installations  for  the  aver- 
age  well-equipped,   modern   vaudeville   theatre. 

We  will  consider  first  the  switchboard  which 
controls  all  the  lighting  on,  under  and  about 
the  stage,  and  that  in  the  auditorium  of  the  thea- 
tre, as  well  as  the  fan  and  ventilating  systems. 

This  switchboard  should  be  of  marbleized  slate 
of  the  "dead  front"  or  "dead  face"  type,  with 
extension  copper  buss  bar  terminals  run  to  top 
for  dimmer  connections. 

The  "dead  front"  or  "dead  face"  term  means 
that  switches  are  mounted  upon  the  rear  of  the 
board  instead  of  the  front,  and  are  controlled 
by  handles  on  the  front  of  the  board.  This 
eliminates  the  risk  of  short-circuits  through 
actors  or  others  leaning  against  switchboard  or 
touching  it  with  metal  objects,  etc.,  and  pro- 
vides against  shocks  and  burns  to  individuals 
handling  or  coming  in  contact  with  the  board. 

No  switch  lighter  in  capacity  than  50  amperes 
should  be  used,  as  the  lighter  weights  will  not 
stand  up  under  the  gruelling  service  required 
of  them  in  a  theatre. 

EVERY  switch  should  be  provided  with  a 
name  plate  showing  what  it  controls.     These 

52 


plates  should  be  of  the  "battleship"  type;  that 
is,  dull  black  plates  with  white  letters. 

The  swichboard  should  be  located  at  least 
3  feet  distant  from  the  wall,  permitting  suffi- 
cient working  space  behind  it  for  the  re-fusing 
of  circuits,  repairs  to  switches,  etc. 

There  should  be  at  least  one  pilot  light  on 
the  front  of  the  board,  provided  with  shade  so 
arranged  as  to  throw  the  light  directly  onto  the 
face  of  the  board  and  not  diffuse  it  into  the 
area  "on  stage."  There  should  also  be  a  pilot 
light  on  the  back  of  the  board  providing  light 
for  re-fusing,  repairs,  etc. 

Ample  switch  facilities  should  be  provided, 
that  is,  enough  individual  switches  to  afford 
the  greatest  elasticity  and  variety  of  combina- 
tions in  controlling  circuits,  and  there  should 
be  at  least  half-a-dozen  surplus  switches,  for 
future  uses,  wired  into  the  board. 

Dimmers  should  be  mounted  above  the 
switchboard,  with  sheet  metal  cover  to  protect 
them  from  overhead  dust,  etc.  All  operating 
handles  should  come  on  one  level,  within  easy 
reach  of  the  operator,  and  not  more  than  76 
inches  from  the  floor.  Each  handle  should  be 
enameled  according  to  the  color  of  the  lights 
controlled,  and  having  a  name  plate  affixed 
to   the   handle   indicating   the   control.     There 

53 


should  be  a  master-lever  for  each  color,  and  a 
grand  master-lever  controlling  all  stage  lights. 
House  lights  and  fans  should  also  be  controlled 
through  dimmers,   similarly  arranged. 

Two  types  of  dimmers  are  recommended: 
the  Cutler-Hammer  120-step  type  interlock- 
ing; or  Ward-Leonard  125-step  type.  Either 
will  give  satisfactory  service,  the  latter  being 
somewhat  cheaper. 

There  should  be  separate  controls  for  each 
floor  of  the  auditorium,  side  wall  brackets,  beam 
lights,  etc.  These  lights  should  be  governed 
also  by  remote  control  switches,  workable  from 
push-button  switches  in  the  box-office  and 
picture  booth,  and  from  some  place  con- 
venient to  the  door-man,  so  that  auditorium 
lights,  in  an  emergency,  may  be  turned  on  from 
any  of  these  points.  The  control  of  auditorium 
lights  from  the  booth  should  be  practicable,  as 
in  the  event  of  the  house  adopting  a  straight 
picture  policy  the  expense  of  having  an  elec- 
trician back-stage  will  be  saved. 

Upon  the  face  of  the  stage  switchboard  should 
be  placed  the  signal  controls,  connecting  with 
booth,  orchestra  and  fly  gallery,  and  at  some 
point  on  the  board  or  very  close  thereto,  the 
opening  of  speaking  tubes  running  to  these 
three  locations  should  be  placed. 

54 


There  should  be  a  cabinet  conveniently  placed 
back  of  the  switchboard,  in  which  an  emergency 
stock  of  fuses  of  every  size  used  on  the  board, 
tape,  lugs,  plugs  and  connectors  can  be  kept, 
available  for  instant  use.  In  the  electrical 
storeroom  a  stock  of  porcelain  insulators,  mica 
insulators,  washers,  binding  posts,  receptacles, 
switches,  wire,  etc.,  should  be  kept. 

The  stage  switchboard  is  the  heart  of  the  elec- 
trical system  of  the  theatre;  it  should  be  made 
the  subject  of  very  careful  planning  and  con- 
struction. 

Considering  next  the  footlights,  the  length 
of  the  row  should  be  4  to  6  feet  shorter  than 
the  proscenium  opening.  Universal  semi-flush 
type  construction,  conforming  to  the  latest 
Underwriters'  specifications,  is  recommended. 
These  are  made  with  a  metal  trough  for  single 
or  double  row,  into  which  the  footlight  proper, 
with  receptacles  completely  wired,  is  placed. 
The  trough  should  be  painted  with  three  coats 
of  flat  white.  The  lamp  protecting  hood  should 
be  of  double  iron,  making  it  especially  strong, 
and  should  not  project  more  than  2 J  inches 
above  the  floor  level.  Lamps  should  be  so 
placed  that  the  light  is  equally  distributed  at 
the  floor  line  as  well  as  to  the  back  wall,  back 

66 


and  up,  and  the  footlight  should  be  equipped 
with  splicing-blocks  for  adjustments. 

In  two-row  footlights,  the  top  row  should  be 
devoted  to  white  lights,  the  bottom  row  to  the 
red,  blue  and  other  colored  lights.  Thirty-two 
40-watt  lamps  (or  the  equivalent  of  1320  watts) 
may  be  placed  on  one  2-wire  circuit,  and  four 
40-watt  lamps  may  be  placed  single  row  to  the 
foot.  All  white  lamps  should  be  of  the  75-  or 
100- watt  nitrogen  mazda  type;  but  only  40-  or 
60-watt  mazda  lamps  on  colored  circuits,  as 
the  "colorine,"  or  coloring  matter,  will  not  with- 
stand the  intense  heat  developed  by  the  nitrogen 
mazda  lamps. 

In  the  center  of  the  footlight-trough  should 
be  located  an  individual  outlet,  on  a  separate 
circuit,  for  use  in  plugging  in  a  baby-spot,  or 
any  apparatus  in  the  orchestra  pit,  which  may 
be  needed.  This  should,  however,  work  through 
a  dimmer.  Sometimes  this  outlet  is  used  for 
the  watchman's  light  at  night  on  the  stage,  but 
whether  or  not  this  use  is  made  of  it,  the  in- 
stallation  should   be   in   every   new   equipment. 

Considering  next  the  proscenium  strips — that 
is,  the  two  strips  placed  up  and  down  on  both 
sides  of  the  proscenium — these  should  be  placed 
in  coves  provided  for  them  in  the  construction 
of  the  proscenium  arch,  and  usually  running  up 

56 


about  16  feet.  Practical  dimensions  are  6-inch 
front,  3-inch  rear,  and  5-inch  depth  in  trough 
made  of  heavy  galvanized  iron,  and  wired  to 
accommodate  75-watt  nitrogen  mazda  lamps, 
four  lamps  to  the  linear  foot.  In  checking  plans, 
care  should  be  taken  to  see  that  the  architect  has 
provided  space  in  the  proscenium  wall  wherein 
these  strips  are  to  be  placed,  flush  with  wall  and 
set  at  an  angle  to  throw  light  equally  toward  the 
center  of  the  stage  in  front  of  a  drop  "in  one," 
yet  masked  so  that  the  lights  themselves  will  not 
be  visible  to  persons  seated  in  extreme  end  seats 
in  the  front  row,  or  in  boxes.  Proscenium  strips 
should  work  through  dimmers,  and  be  in  four 
circuits. 

Border  lights,  usually  not  less  than  four  in 
number,  should  be  two  feet  longer  than  the  pro- 
scenium opening.  The  number  of  borders  re- 
quired will  be  governed  by  the  size  of  the  stage, 
but  they  should  in  any  event  be  not  more  than 
6  feet  apart.  The  first  one  should  be  hung 
immediately  behind  the  working  curtain  to  il- 
luminate "one"  from  overhead,  and  there  should 
be  one  in  each  entrance  behind  "one."  The 
width  of  the  border  should  be  such  as  not  to  re- 
quire over  one  foot  of  working  space  for  low- 
ering and  raising,  the  trough  not  exceeding  10 
inches  in  width.     Provide  four  circuits  in  each 

67 


border:  red,  blue,  white  and  amber.  The  same 
number  of  lamps  per  foot  may  be  placed  in 
borders  as  in  footlights  and  proscenium  strips. 

A  new  type  of  border  light  has  come  into  use 
in  recent  years,  for  the  new,  high-powered  ni- 
trogen lamps.  These  are  very  practicable,  re- 
sult in  some  economy  in  current  consumption, 
and  so  far  no  objection  has  been  found  to  their 
use.  In  general,  they  provide  three  to  five  fix- 
tures for  each  color,  on  a  metal  batten  (Ij-inch 
iron  pipe),  in  properly  ventilated  fixtures  with 
shades  that  throw  the  light  down  and  back,  and 
with  metal  frames  on  the  front  in  which  col- 
ored gelatine  mediums  are  placed.  Particu- 
lars concerning  this  new  type  may  be  had  upon 
inquiry  of  any  of  the  manufacturers  special- 
izing in  theatrical  installations.  The  500-watt 
nitrogen  mazda  lamp  is  the  type  most  gen- 
erally used  in  these  fixtures,  some  using  the 
1000- watt  nitrogen  for  the  white  lamps  and 
smaller  ones  in  the  colored  circuits. 

Border  lights  should  be  hung  on  messenger 
cable,  safely  and  securely  counterweighted. 
Their  structure  should  be  of  approved  type; 
the  one-time  practice  of  having  the  local  tin- 
ner make  them,  even  if  the  fire  and  building 
authorities  will  pass  them,  is  short-sighted  and 
"penny-wise." 

68 


Bunch,  spot,  olivette,  flood,  bracket  and  sim- 
ilar special  lights  and  effects  are  usually  worked 
from  stage-pockets  and  plugging-boxes.  Hence, 
there  should  be,  at  each  entrance,  right  and  left 
of  the  stage,  and  at  the  rear  center,  a  four- 
section  stage-pocket,  three  of  the  sections  being 
wired  for  the  incandescent  circuit,  and  one  for 
the  direct,  or  arc-light,  circuit.  These  should 
be  connected  to  work  through  the  dimmers. 
One  double-arc  pocket  should  be  placed  at  each 
side  of  the  proscenium  bridge,  and  there  should 
be  two  to  four  arc  pockets  and  plugs  for  both 
sides  of  the  fly  floor.  It  is  much  better  to  pro- 
vide sufficient  outlets  at  the  time  of  construc- 
tion than  to  have  to  resort  later  to  make-shifts 
in  order  to  secure  the  lighting  effects,  which 
spectacular  acts  are  likely  to  require.  Further, 
it  is  well  always  to  contemplate  that  the  time 
may  come  when  it  will  be  desired  to  change  the 
policy  of  the  house,  and  to  provide  for  com- 
plete equipment  when  building. 

Sufficient  lights  should  be  placed  under  the 
fly-gallery  floor,  to  light  the  stage  for  working 
purposes.  There  should  be  lights  placed  on 
both  sides  of  fly  floors,  and  aloft,  above  the 
grids.  In  the  center  of  the  grids,  a  50-ampere 
capacity  wall  type  stage-pocket  should  be  placed, 
controlled  from  stage  switchboard  through  dim- 

d9 


mer.  This  should  have  plug  and  cable  and  con- 
nector, for  chandelier  or  other  fixture  hung 
center. 

Lights  should  be  placed  at  the  stage  door, 
scenery-loading  door,  and  of  course  the  lighting 
in  under-stage  corridors,  dressing-rooms,  stair- 
ways, boiler,  prop  and  other  rooms  should  be 
in  accordance  with  the  needs. 

For  smaller  theatres,  there  should  be  provided 
a  sheet-iron  box  act  announcer^  5  feet  high, 
24  inches  wide,  highly  ornamented,  having  ten 
or  more  compartments  with  white  opal  glass 
front  on  which  announcements  are  painted. 
Announcers  are  placed  against  the  proscenium 
arch  each  side  of  stage  and  operated  by  the 
electrician  or  stage-manager  on  a  keyboard, 
through  a  No.  11  conductor  cable. 

For  the  better  class  of  theatres,  where  pro- 
grams are  used,  a  monogram  transparency  may 
be  countersunk  in  the  proscenium  arch  on  each 
side.  Letters  running  from  "A"  to  "O,"  with 
an  "X"  added,  are  illuminated  at  will  by  the 
electrician  or  stage-manager  on  a  keyboard, 
consisting  of  a  slate-lined  iron  box  with  knife 
switches  and  buss  bar  connection  for  No.  21 
conductor  cable. 

The  signal  system  of  the  theatre  should  in- 
clude  speaking  tubes   from   stage  to   orchestra 

60 


pit  and  fly-gallery.  There  should  be  a  small 
electric  lamp  flash-system,  governed  by  a  push 
button  on  the  stage  switchboard,  from  the  stage 
to  each  of  these  points;  and  an  inter-communi- 
cating telephone  system,  preferably  installed 
in  connection  with  the  local  telephone  exchange, 
with  stations  in  box-office,  manager's  office,  su- 
perintendent's office,  pictiu'c  booth,  stage  and 
such  other  points  as  may  be  deemed  advisable. 
With  the  combination  of  these  three  systems, 
there  is  every  reasonable  assurance  that  each 
part  of  the  theatre  can  get  into  quick  and  de- 
pendable communication  with  every  other  part 
— an  essential  thing. 

A  night  light,  stand,  lamp  with  guard,  and 
about  twenty-five  feet  of  stage  cable,  with 
plug,  should  be  provided  for  burning  on  stage 
at  night,  being  plugged  either  into  one  of  the 
stage  pockets  or  the  receptacle  in  the  center 
of  the  footlight-trough,  as  is  most  convenient. 

A  word- diagram  of  the  suggested  arrange- 
ments of  circuits  and  controls  is  herewith  sub- 
mitted. This  may  or  may  not  fit  the  needs  of 
the  reader's  theatre,  but  it  may  offer  a  sugges- 
tion or  two,  or  keep  him  from  overlooking  some 
essential. 


81 


MAIN  LINE  TO  STAGE  SWITCHBOARD  CONTROLLING 

STAGE 

Footlights  j 

Borders  j 

Pockets  >  Through    complete    interlocking   dimmer 

Proscenium  system. 

Grid  Pocket  J 


Main  Floor 

Foyer 

Balconies 

Dome 

Ceilings 

Beams 

Spotlights 

Fans 

Brackets 

Exits 
Steps  and 
Stairs 


Orchestra 
Work  Lights 
Dressing-Rooms 
Prop,   Fan, 
Furnace  and 
Other  Rooms 
Fly-Gallery 
Gridirons 
Stage  Door 
Loading  Door 
Ventilation  System 
Miscellaneous,   as 
Booth,  etc. 


AUDITORIUM 


Through    complete    interlocking    dimmer 
system. 


}  Separate    control,    connected    ahead    of 
main  switch.     (See  note.) 

MISCELLANEOUS 


Individual  switch  controls  for  these  and 
other  miscellaneous  lights. 


MAIN    LINE    TO    BOX-OFFICE    SWITCHBOARD 

CONTROLLING 

PATRONS'   ROOMS 


Smoking  Room 
Toilets 

Ladies'  Room 
Nursery 
Cloak  Room 


f  Individual  switches  on  sub-main  to  con- 
trol these. 


62 


OFFICES,  ETC. 


Box-Office 
Manager's 
Superintendent's 
Ushers'  Dressing 
Bill  Room 
Janitor's 
Miscellaneous  Rooms 


.  Individual  switches  on  sub-main  to  con- 
trol these. 


FRONT  OF  HOUSE 


Lobby- 
Marquee 
Signs 

Transparencies 
Street  Lights 
Carriage  Calls 


Individual  switches  on  sub-main  to  con- 
trol these. 


EMERGENCY 


House  Lights,  as 
Auditorium 
Balconies,  Foyer,  etc. 

Exit  and  all 
Step  and  Stair 
Lights 


Remote  control  to  these. 


See  Note. 


Note. — Exit  and  stair  and  step  lights  should  be  connected  to 
the  house  mains,  both  at  stage  and  box-office,  ahead  of  the 
main  switches;  that  is,  directly  on  both  mains,  so  that  if  fuses 
blow  either  directly  in  switch  controlling  exit  lights,  or  in  either 
switchboard,  the  exit  lights  will  still  receive  power  from  the 
other  board  and  line.  They  should  be  heavily  fused,  so  that  under 
ordinary  circumstances  they  will  not  go  out  during  a  performance. 

In  many  cities,  ordinances  require  exit  lights 
to  be  fitted  also  with  gas  burners  and  burned 
throughout  performances;  in  any  event,  it  is  the 
safest  practice  to  make  assurance  doubly  sure 
that  the  exit,  stair  and  step  lights  will  not  go 


63 


out  by  providing  every  possible  safeguard 
against  this. 

The  following  is  a  suggested  list  of  equip- 
ment, which  may  be  added  to  or  taken  from,  as 
the  needs  of  the  theatre  require,  but  it  will  pro- 
vide a  list  to  check  against  when  planning  pur- 
chases in  this  department: 

ELECTRICAL  STAGE  EQUIPMENT 

Bunchlights,  wired  for  twelve  60-watt  lamps,  with  26  ft.  No. 

14  cable   4 

Olivette  lamps,  with  1000-watt  nitrogen  mazda  lamps  and  25 

ft.   No.   14  cable    2 

Color   frames,   18x20  in.   for  use  with  above  lamps 12 

Gelatine  mediums,   8   asstd.   colors,   18  x  21   in ■. . . .       48 

Spotlight,    6    in.,    taking   25-amp.    on    125    volt,    with    25    ft. 

No.    14   cable    1 

Spotlight,  "Baby"  5  in.   with  25   ft.   No.   14  cable 1 

L,ens  box  frames,  8x9  in.,  fit  all  spotlights 12 

Color  wheels,  5  colors,  to  fit  either  5  in.  or  6  in.  lens  boxes..  2 
Strip  lights,  8  ft.  galva.  iron,  wired  for  lamps  10  in.  apart..  2 
Strip  lights,  5  ft.  galva.  iron,  wired  for  lamps  10  in.  apart. .         2 

Stage   cable,   Nos.    10,   14   and    18,   of  each 50    ft. 

Electrically  illuminated  Fire  Log,  made  of  translucent  ma- 
terial and  asbestos,  reinforced  with  metal,  hollow  for  in- 
sertion of  electric  bulbs.  Made  to  give  a  realistic  effect 
of  partly  burned  logs,  can   be  secured  in   several  sizes, 

built  and  especially  suited   for  theatre  fire  places 1 

Colorine,  for  staining  lamps,  in  following  colors:  Red,  Am- 
ber, Green,  Blue,  Pink  and   Purple,  of  each    1    pt. 

Bell,  push  button  and  battery,  for  effects   2 

The  stage  electrician  should  always  have  on 
hand  for  emergencies  a  supply  of  the  following: 

Receptacles,  sockets,  wire,  switches,  porce- 
lain rollers,  and  insulators,  tin  cups  for  same, 
mica  insulators  and  washers,  binding  posts,  tape, 
fuses,  lugs,  plugs,  connectors,  etc.,  etc. 

64 


Miscellaneous.  Cleaner's  stand,  topped  with 
5-light  cluster  and  .50-foot  cable.  These  stands 
may  be  had  with  one,  three  and  five  lights,  the 
latter  being  preferable.  The  base  is  solid  and 
the  cleaners  carry  the  apparatus  about  the  house 
when  cleaning.    Saves  much  current. 

Musicians'  stands,  portable  and  adjustable, 
for  each  musician,  and  a  stationary  stand  of 
proper  height,  with  an  additional  shelf  for 
music  and  instrument,  for  the  leader.  Each 
stand  equipped  with  tin  hood  and  lamp  socket 
held  by  outer  shell.  Entire  socket  enclosed  in 
tin  shade,  with  operating  key  extending  through 
slot  in  tin  hoods  through  which  light  is  thrown 
onto  music. 

In  balcony  or  gallery  at  front  rail  (if  spot- 
light is  not  placed  in  booth)  locate  one  4-sec- 
tion  arc  panel,  which  allows  the  w^orking  at  this 
point  of  four  spotlights  or  effect  lamps. 

Purchase  one  of  the  new  style  Long  Dis- 
tance Spotlights.  This  lamp  is  designed  to 
give  a  clear  3-foot  spot,  or  a  20-foot  spread  at 
100  feet.  It  consumes  35  amperes  at  125  volts. 
This  lamp  may  either  be  set  at  the  front  rail  of 
the  balcony  or  gallery  or  placed  in  picture 
booth.  Furnish  the  operator  with  an  adequate 
supply  of  lens   box   frames,   gelatine  mediums 


and  color  wheels,  as  listed  in  "Electrical  Stage 
Equipment." 

Decoration 

It  may  be  considered  that  the  design  of  the 
theatre  involves  also  the  scheme  of  decoration 
adopted,  and  the  author  submits  a  few  general 
color  schemes  that  are  known  to  be  not  only  in 
good  taste  and  effective,  but  to  "wear  well." 

Color  schemes  and  method  or  working: 
The  combination  of  ivory,  gray  and  old-rose, 
properly  balanced,  makes  a  warm,  cheerful  in- 
terior. Ceiling  surfaces  may  be  laid  in  in  grays 
with  ornamental  parts  in  glazed  ivory,  certain 
panels  and  ornaments  to  be  picked  out  in  gold, 
metal  leaf  or  bronze,  and  the  recessed  parts  in 
old-rose.  Mural  decorations  should  be  used  in 
appropriate  locations,  the  subjects  being  his- 
torical or  allegorical,  but  in  any  case  in  har- 
mony with  the  purpose  of  the  theatre.  This 
work  is  done  first  upon  muslin  canvas  with  oil 
paints,  and  then  applied  to  the  surfaces,  and 
should  be  executed  by  experienced  mural 
painters. 

The  modern  practice  of  finishing  walls  is  to 
cover  them  with  fabric,  either  silk  or  damask, 
though  paper  may  be  used.     Canvas  may  be 

66 


laid  on  and  painted  in  imitation  of  silk,  or  the 
walls  may  simply  be  finished  up  in  oil  paints, 
flat  or  glazed. 

Mouldings  and  friezes  should  be  painted  in 
the  same  tones  as  ceilings,  but  in  darker  tints. 

Standards  in  the  ivory,  gray  and  old-rose 
scheme  should  be  bronzed  and  glazed  with  an- 
tique finish;  seats  upholstered  with  either  gray 
or  old-rose,  draperies  a  deep  old-rose  or  dark 
rich  red,  carpets  gray,  exit  doors  bronzed  and 
antiqued. 

Here  follows  a  list  of  other  tried  (not  ex- 
perimental or  theoretical)  combinations: 

Drab,  old-ivory  and  gold;  wall  coverings, 
painted  surfaces  or  panels  on  walls  in  a  rich 
gold  tone,  friezes  drab,  woodwork  ivory  en- 
amel, draperies  moss  green,  standards  ivory, 
seats  moss  green,  carpets  a  deeper  green. 

Cream,  russet  and  gold;  walls  russet,  wood- 
work glazed  deep  russet,  draperies  old-blue, 
standards  deep  russet,  seats  blue  leather,  car- 
pets brown.  Various  tones  of  gold  make  a 
rich-looking  house;  metal  leaf  should  be  in- 
variably used,  not  bronze.  With  mural  decora- 
tions in  deep  colors,  this  scheme  creates  an 
Oriental  effect. 

Pearl  gray,  royal  purple  and  gold;  walls 
royal  purple,  draperies  deep  purple  with  gold 

67 


applique,  standards  Circassian,  seats  pearl  gray, 
carpets  burnt  orange  or  dull  gold.  Autumn 
tones  will  make  a  beautiful,  refined  interior. 

Gray,  old-gold  and  mulberry;  walls  old-gold, 
draperies  mulberry,  standards  gold,  seats  old- 
gold,  carpets  a  warm  gray. 

Yellow,  gray  and  lavender;  walls  yellow, 
draperies  old-gold,  standards  same,  seats  gray, 
carpets  gray-green. 

Cream,  gray-green,  white  and  peach;  walls 
gray-green,  draperies  peach,  standards  white 
enamel,  seats  peach,  carpets  drab. 

French  gi'ay  and  Pompeiian  red;  in  various 
tones;  walls  Pompeiian  red,  draperies  French 
gray,  standards  same,  seats  red  leather,  carpets 
deep  green. 

Brown,  russet  and  old  tapestry  tints;  walls 
tapestry,  draperies  same,  standards  brown, 
seats  russet,  carpets  red-brown. 

Ivory,  tan  and  robin-egg-blue;  walls  tan, 
draperies  blue,  standards  ivory,  seats  blue,  car- 
pets brown. 

Lavender,  pink  and  white;  walls  pink,  drap- 
eries lavender,  standards  white,  seats  gray,  car- 
pets moss  green. 

Peacock  color  scheme;  walls  gold-brown, 
draperies  peacock-blue,  standards  black,  seats 
peacock-green,  carpets  gold-brown. 

68 


Wainscotings  of  scagliola  with  walls  of  tapes- 
try in  the  various  combinations  are  often  used 
to  good  advantage. 

As  a  general  proposition  the  ends  of  economy 
are  served  by  doing  all  painting  in  oil,  taking 
care  that  walls  are  not  "green"  when  painted; 
though  water-color  may  be  used  to  good  ad- 
vantage on  ceilings. 

The  cost  of  decorating  a  theatre  depends 
upon  size,  material  used  and  effects  desired. 
If  re-decorating  an  old  house,  photographs  of 
interiors,  submitted  to  established  decorating 
concerns,  will  secure  estimates  of  cost  with  sug- 
gested schemes  and  effects.  If  a  new  theatre, 
the  architect  and  builder  should  be  in  touch  with 
the  decorator  before  construction  is  started. 

The  asbestos  curtain  should  be  painted  by 
whatever  concern  decorates  the  theatre,  so  that 
this  will  harmonize  with  the  rest  of  the  house. 

Seats  and  Installation 

Theatre  chairs  are  a  costly  part  of  the  equip- 
ment of  a  theatre;  therefore  the  kind,  style, 
size  and  installation  should  be  well  observed. 
In  buying  theatre  chairs,  the  following  points 
should  be  noted: 

Standards  or  Castings.  If  these  are  frail  or 
badly  constructed,  the  chair  is  undesirable,  re- 

69 


gardless  of  upholstering  or  appearance.  In 
considering  the  standards,  include  all  iron  or 
steel  parts,  such  as  hinges,  brackets,  wings,  ties, 
etc.  If  the  appropriation  allows,  what  is  known 
in  theatre  chair  factories  as  the  indirect  type 
should  be  purchased,  the  price  depending,  if 
cast  iron,  on  the  weight  of  the  iron ;  and  if  steel, 
the  gauge  and  amount  of  steel  used. 

A  direct  type  casting  is  one  in  which  the 
back  fits  in  a  groove  in  the  standard  and  is 
held  by  a  very  small  piece  of  steel,  or  cast  iron, 
the  standard  forming  part  of  one  side  of  the 
hinge.  Formerly  this  type  was  unknown  ex- 
cept in  the  cheapest  gallery  chairs,  but  since 
theatre  builders  often  demand  show  and  flash 
and  do  not  put  value  first,  theatre  chair  fac- 
tories have  adopted  this  construction  in  chairs 
with  expensive  backs,  seats,  etc.  (See  Plymouth 
and  Broadhurst  Theatres,  New  York  City,  for 
examples  of  this  type.)  Any  faulty  details  in 
installing,  uneven  floors  or  heavy  wear  and 
tear  throw  all  the  weight  and  strain  on  a  com- 
mon stove  bolt  3J  inches  long  by  J  inch  to 
3/16  inch  diameter.  The  direct  seat  hinge 
has  a  very  limited  adjustment  for  curved  seat- 
ing, which  subjects  it  to  greater  strain. 

The  indirect  type,  costing  from  75  cents  to 
$1.25  additional  per  chair,  has  a  separate  heavy 

70 


cast  iron  or  steel  piece  known  as  a  wing  which 
bolts  to  the  standards  and  fastens  to  the  back. 
This  gives  greater  depth  in  the  chair,  holds  the 
back  more  securely  and  helps  equalize  any  un- 
evenness  of  floor  or  other  unusual  condition. 
The  indirect  seat  hinge  is  furnished  with  a  sep- 
arate piece  usually  called  a  "bracket."  This 
bracket  allows  plenty  of  freedom  for  adjust- 
ment to  fit  almost  any  curve,  permits  free  and 
perfect  operation  of  the  hinge  and  takes  care 
of  unevenness  in  floors  so  that  this  but  slightly 
affects  the  perfect  operation  of  the  hinge.  There 
are  also  semi-direct  hinges  on  the  market,  some 
of  which  have  wings  and  direct  hinges  and  some 
no  wings  but  indirect  or  bracket  hinges.  These 
are  inferior  to  the  indirect.  Cast  iron  standards 
and  heavy  steel  wings,  brackets,  seat  arms  and 
hinges  are  (in  the  author's  opinion)  the  best 
combination.  Cast  iron  should  be  in  the  stand- 
ard for  rigidity  so  there  will  not  be  a  con- 
stant working  and  tugging  on  the  floor  screws, 
and  steel  should  be  used  for  cross  strains.  The 
steel  will  not  break  under  cross  strain  as  readily 
as  cast  iron.  Further,  the  brackets  held  by 
more  than  one  bolt  are  much  superior  to  those 
held  by  the  single  bolt  so  often  used. 

The  standard  which  the  seating  factory  in- 
tends to  supply  for  the  middle  chairs  should 

71 


be  examined,  as  well  as  the  heavy  artistic  aisle 
standards  on  the  samples.  A  row  of  ten  chairs 
contains  two  aisle  standards  and  nine  middles 
which  are  very  different  from  the  aisle  stand- 
ards and  usually  not  seen  by  the  purchaser 
until  the  chairs  are  installed. 

Seats,  according  to  cost,  naming  the  cheapest 
first: 

1.  Squab  or  Stuffed  Seat:     Filled  with  tow, 

cotton  layer  on  top.  Framed  in  on  three 
sides.    No  frame  on  rear. 

2.  Squab  Spring  Seat:    Same  as  No.  1,  with  5 

springs  or  more.  As  springs  shift  during 
use  and  this  seat  is  not  framed  on  rear, 
insides  usually  slide  toward  rear,  are  put 
out  of  place  and  in  time  allow  springs  to 
turn  up  on  edge.  This  type  of  seat  is  a 
poor  investment. 

3.  Box'    Spring    Seat:      Framed    on    all    four 

sides.  This  is  the  best  seat  for  service  and 
continuous  comfort.  Made  with  5,  6,  7,  8 
or  9  springs.  Heavy  steel  strips  holding 
springs  on  bottom  should  be  insisted  upon. 

4.  Auto  or  Mattress  Spring  Seat   (sometimes 

called  Spring  Edge  Seat)  :  No  wood 
framing  of  any  kind.     Edges  are  nearly 

72 


pressed  together  when  sat  upon,  allowing 
great  strain  on  covering  material  when 
weight  on  springs  is  released.  Best  type 
has  twelve  springs,  round  wire  mesh  frame 
on  top,  to  which  springs  are  metal  fas- 
tened and  steel  strips  holding  at  bottom. 
Welt  edge  should  be  specified,  for  this 
type  does  not  stand  up  like  box  spring 
seat. 

False  bottom  seats  which  appear  very  thick 
but  are  not  entirely  filled  with  upholstering  ma- 
terial, having  a  partition  inside  and  thin  pad- 
ding on  top,  should  be  avoided.  They  keep 
their  shape  but  are  inferior  to  plain  wood  seats 
in  use. 

If  it  is  intended  to  use  plain  veneer  seats 
(without  upholstering)  5-ply  J  inch  thick, 
plain  roll  or  full  roll  should  be  specified,  o-ply 
can  be  furnished  5/16  inch  thick  much  cheaper, 
so  the  distinction  should  be  made  as  to  thick- 
ness. 

Wood  armrests  range  in  price  from  10  cents 
to  40  cents  per  chair,  depending  on  thickness  of 
wood,  machine  work,  or  hand  carving.  This  is 
to  be  considered  in  comparing  prices.  Almost 
any  style  or  priced  armrest  can  be  put  on  any 
style  or  priced  chair,  according  to  the  buyer's 

73 


taste  and  in  keeping  with  the  balance  of  the 
chair. 

Of  backs  there  are  many  types  and  prices, 
some  of  which  are  described  in  upward  order 
of  cost: 

Plain  Veneer  (no  upholstering)  :  Anything 
less  than  |  inch  thick  5-ply  (unless  edges 
are  all  protected  by  iron)  should  not  be  con- 
sidered except  where  shortage  of  money 
makes  it  necessary.  Practically  all  shapes 
can  be  had  for  the  same  price.  Backs  19 
inches  high  are  cheaper  than  20  inches. 
Height  must  be  taken  into  consideration 
when  buying. 

Added  Panel  or  Pleated  Panel  Backs:  This  is 
a  plain  veneer  back  with  separate  veneer 
panel  thinly  upholstered  and  applied  against 
face  of  veneer  back  and  held  in  place  by  four 
screws  from  rear.  Margin  of  1  inch  or  2 
inches  of  plain  veneer  back  left  exposed  for 
frame. 

Inserted  Panel  Back:  A  veneer  back,  say  6- 
ply  thick,  is  taken  and  three  plies  cut  out  in 
center.  Light  padding  and  covering  is  put 
on  the  three  plies  cut  out  and,  when  uphol- 

74 


stered,  set  back  in  place,  fitting  flush  with 
face  of  wood  left  for  frame. 

Full  Upholstered  Backs:  A  veneer  back  with 
framed  edges.  Upholstering  material  is 
placed  inside  of  frame  and  the  covering  then 
drawn  over  the  entire  front  face  of  back  and 
around  frame.  The  covering  is  then  fastened 
to  the  back  with  what  is  known  as  "tack  and 
gimp"  or  concealed  or  tackless  fastening.  In 
"tack  and  gimp"  fastening,  the  edge  of  the 
material  covering  is  simply  tacked  on  the 
edge  of  the  veneer  backing,  and  a  strip  of  the 
upholstering  material  tacked  around  to  conceal 
the  raw  edges.  This  method,  while  cheapest, 
is  unsatisfactory,  as  the  covering  very  easily 
pulls  away  from  the  tacks.  Also,  the  gimped 
edge  tempts  patrons  to  pick  at  it.  The  "con- 
cealed or  tackless"  fastening  consists  in  draw- 
ing the  upholstering  material  completely 
around  the  edges  of  the  back  and  fastening 
onto  the  rear,  an  extra  veneer  being  then 
screwed  on  the  rear  of  the  back.  This  meth- 
od gives  better  appearance  and  service. 
Springs  can  be  used  with  this  type  of  back 
for  a  cushion  effect,  adding  to  the  cost  of  the 
back,  but  giving  very  little,  if  any,  addi- 
tional comfort. 

76 


Upholstering  Material 
Imitation  Leather.  Despite  many  different 
trade  names  for  imitation  leathers,  the  quality 
of  the  various  makes  is  about  the  same.  "Span- 
ish Imitation  Leather"  is  grained,  and  most 
nearly  resembles  genuine  leather  in  appearance 
and  durability,  costing  but  a  few  cents  more  per 
chair  than  other  imitations.  "Sateen  Backing" 
or  other  non-ribbed  material  should  be  speci- 
fied for  rear  covering. 

Velour,  Tapestry,  Mohair  or  Panne  Plush. 
These  come  in  so  many  different  qualities  that 
it  is  advisable,  if  any  one  of  them  is  to  be  used, 
to  have  samples  submitted  and  passed  upon  by 
an  expert.  These  materials  are  named  above 
in  order  of  wearing  quality  and  cost,  velour  be- 
ing the  cheapest  and  least  durable. 

Hardware:  The  cost  of  chairs  can  be  re- 
duced from  5c  to  50c  each  by  the  use  of  infe- 
rior bolts,  screws,  etc.  The  best  construction 
is  obtained  by  use  of  nickel-head  bolts,  where 
wood  parts  are  fastened  to  metal  or  other  wood 
parts.  Stove  bolts  may  be  used  at  a  lower  cost 
but  cheapen  the  appearance  of  the  chair,  the 
edges  becoming  rough  very  soon  and  catching 
in  clothing.  Where  screws  are  used,  "piano 
screws"  are  preferable,  as  the  slot  does  not 
rough   up.      Hat-wires    which    fasten    in    three 

76 


places,  namely,  on  each  side  of  the  bottom  of 
the  seat  and  in  the  rear,  are  best.  Some  hat- 
wires  are  fastened  on  two  sides  only,  and  in  this 
case  it  is  easy  for  the  person  in  the  seat  behind 
to  break  them  off  with  his  feet.  If  number  and 
letter  plates  are  desired,  this  should  be  specified 
in  the  contract  for  chairs. 

BolV  Chairs:  Very  often  the  seats  in  this 
section  of  the  house,  and  in  the  loggias,  are  not 
chosen  with  reference  to  securing  maximum 
comfort  in  a  minimum  space. 

The  chair  that  has  become  almost  standard 
for  use  in  these  locations  is  the  Austrian  bent- 
wood  type  priced  from  $36  up  per  dozen.  Here- 
tofore the  imported  chair  has  been  the  most 
satisfactory,  but  during  the  war  American  man- 
ufacturers have  to  some  extent  specialized  in 
the  manufacture  of  this  type,  and  very  satisfac- 
tory domestic  makes  may  now  be  secured. 

These  are  available  in  period  designs,  with 
cane,  spring  or  upholstered  seats,  in  practically 
any  color  combination.  The  cost  varies  accord- 
ing to  finish,  gold  increasing  the  price  about 
$20  per  dozen,  stained  finishes  about  $9  per 
dozen  and  enamel  finishes,  which  require  three 
well  applied  coats,  about  $24  per  dozen. 

77 


Wicker  and  fiber  chairs,  though  not  infre- 
quently used,  are  unsatisfactory,  occupying 
more  room  and  soon  becoming  rickety.  Box  and 
loggia  chairs  are  subjected  to  harder  usage 
than  the  ordinary  chair,  and  should  be  purchased 
with  this  in  mind. 

Not  a  little  may  be  done  in  the  way  of 
"dressing  up"  the  house  by  choosing  box  chairs 
in  good  taste;  it  is  suggested  that  the  purchaser 
get  in  touch  with  someone  who  can  advise  him 
as  to  what  the  possibilities  are  of  changing  the 
design  without  materially  increasing  the  cost, 
when  buying  either  bentwood  or  any  other 
standard  chair. 

Installation 

It  is  most  important  that  the  chair  manufac- 
turer be  responsible  for  the  setting  of  the 
chairs.  The  average  width  of  seats  is  18  inches 
to  22  inches.  The  distance  from  back  to  back 
is  from  30  inches  to  34  inches,  usually  gov- 
erned by  the  local  codes  or  building  regulations. 

The  average  width  of  aisles  is  30  inches  to  36 
inches  at  the  first  row  of  seats,  increasing  Ij 
inches  every  5  feet  up  to  and  including  the 
last  row,  although  in  some  cities  the  building 
code  permits  an  entire  aisle  being  but  3  feet 

78 


wide  for  its  entire  length.  Side  aisles  are 
usually  30  inches  to  36  inches  wide  at  first  row, 
increasing  in  width  as  do  the  center  aisles. 
These  measurements  are  also  governed  by  build- 
ing codes.  A  theatre  between  60  and  90  feet  in 
width  should  always  have  two  center  and  two 
side  aisles  laid  out  in  what  is  known  as  left,  cen- 
ter and  right  sections. 

The  usual  code  governing  the  number  of 
chairs  to  a  row  is: 

"There  shall  not  be  more  than  six  chairs  between  any  one 
chair  and  an  aisle,  which  means  fourteen  chairs  are  permissible 
to  a  row  in  center  bank  between  the  two  center  aisles,  and  not 
over  seven  chairs  between  any  aisle,  and  the  boxes  (having  no 
aisle)   or  between  an  aisle  and  a  wall." 

Installing   Seats 

In  the  installation  of  seats  on  concrete  floors, 
No.  1420  :}-inch  machine  screws  should  be  used, 
two  to  each  leg  of  the  standard.  The  expansions 
are  set  and  fitted  into  holes  in  the  cement  floor, 
drilled  with  a  9/16-inch  drill. 

The  reason  for  using  only  two  expansions 
and  screws  instead  of  four  in  the  leg  of  each 
standard  is  that  if  one  of  the  screws  becomes 
loose  through  drilling,  weakness  of  cement  or 
improper  installation  of  expansion  shells,  it  can 
loosen  only  the  one  other  screw  instead  of  three, 
and  permits  the  drilling  of  two  entirely  new 
holes,  and  putting  in  two  new  expansions  in 
the  opposite  corners  of  the  base  of  the  standard. 

79 


The  cement  in  theatre  floors  for  good  holding 
qualities  should  consist  of  4  parts  cement  and  6 
parts  sand  or  two  parts  sand  to  one  part  ce- 
ment. The  top  coating  of  cement  floors  must 
be  fully  two  inches  of  finished  cement,  and  stand 
at  least  six  days  before  being  drilled. 

All  seats  should  be  fastened  securely  and 
gone  over  two  or  three  times  with  a  2-inch  ex- 
tension screw  driver  and  brace.  Inferior  ex- 
pansion shells  should  not  be  used;  the  best  one 
made  is  a  "U.  S."  The  U.  S.  expansion  bolt 
is  much  more  easily  extricated  than  other 
makes.  All  arms  must  be  screwed  fast,  or  they 
will  promptly  become  loose,  particularly  if 
simply  secured  by  a  rubber  nail. 

No  w^arped  backs  should  be  permitted  to  slip 
in,  as  a  back  that  has  already  begim  to  warp 
will  continue  its  evil  course;  the  veneer  will 
then  splinter,  making  the  management  liable  to 
a  possible  suit  for  torn  clothing.  When  bolts 
and  screws  are  used,  no  jagged  ends  should  be 
exposed  which  might  tear  clothes.  All  the 
screws  that  show  or  come  through  should  flush 
clean  and  clear. 

The  installer  of  seats  should  not  leave  any 
torn  places  in  any  cloth-covered  seats,  or  any 
tears  or  defects  in  leather-covered  seats;  it 
should  be  understood  that   liquid  veneer  or  a 

80 


light  furniture  polish  is  only  a  temporary  cov- 
ering for  serious  scratches  or  deep  indentations. 

No  manager  should  expect  to  make  a  200- 
pound  patron  feel  comfortable  in  an  18-inch 
chair,  and  if  it  is  absolutely  necessary  to  fill  out 
a  row  or  number  of  rows  with  18-inch  or  19- 
inch  chairs,  they  should  be,  so  far  as  possible, 
all  in  the  same  seat  numbers,  although  in  dif- 
ferent rows,  so  that  the  box-office  man,  know- 
ing their  location,  may  use  judgment  and  place 
stout  patrons  in  wide  seats,  and  the  lean  ones 
in  18-inch  and  19-inch  seats. 

The  average  theatre  builder,  when  ordering 
seats,  does  not  take  into  consideration  the  con- 
dition and  architectural  area  of  the  floor.  As  a 
rule,  theatres  have  three  sizes  of  seats,  and  pos- 
sibly four.  This  is  usually  necessary  to  equal- 
ize the  number  of  seats  in  a  row  with  the  floor 
measurements  and  the  required  width  of  aisles. 
It  is  unwise,  for  the  sake  of  increased  capacity, 
to  place  chairs  behind  columns  or  large  posts, 
as  this  only  creates  complaints  at  the  box-office, 
and  arouses  antagonistic  feelings  in  the  patron 
who  has  been  seated  where  he  can  see  little  or 
nothing  of  the  stage. 

Numbering  Seats:  The  modern  method  of 
numbering  seats  to  effect  the  seating  of  patrons 
with  the  greatest  ease  and  rapidity  is: 

81 


Number  the  left  bank  with  odd  numbers: 
1-3-5-7-9,  etc. 

Number  the  right  bank  2-4-6-8-10,  etc. 

Number  the  seats  in  the  center  bank,  begin- 
ning with  center  left  aisle-seats,  with  odd  num- 
bers starting  with  101-103-105-107,  etc.,  up  to 
one-half  of  the  number  of  seats  in  the  row; 
number  the  center  bank  beginning  with  center 
right  aisle-seat  with  even  numbers,  beginning 
with  102-104-106-108,  etc.,  up  to  one-half  of 
the  number  of  seats  in  the  row.  If  an  odd  num- 
ber of  seats  should  be  in  any  row  in  the  center 
bank — i.e.,  7,  9,  11,  or  13  seats — use  one  more 
of  the  even  number  plates  than  of  the  odd  to 
complete  the  number  of  all  seats  in  the  row. 

Carpets  and  Floor  Coverings 

In  selecting  floor  coverings,  it  is  well  to  pay 
as  much  attention  to  the  make  and  durable 
qualities  of  the  carpet  as  to  its  attractiveness. 

The  author  believes  the  most  durable  carpet 
for  general  theatre  use  is  the  Wilton.  Wiltons 
run  in  various  grades,  and  are  manufactured  by 
a  number  of  firms.  The  price  varies  from  $2.50 
to  $4.90  per  yard  in  three-quarter-yard  widths, 
depending  upon  the  grades  and  colors,  figured 
goods,  blues  and  greens  costing  35c  to  50c  more 

82 


per  yard  than  other  colors.  Plain  colored  car- 
pets are  more  extensively  used  than  figured  pat- 
terns. Wiltons  are  made  of  long  yarn  worsted 
in  short  and  high  pile.  One  of  the  best  wearing 
Wiltons  is  the  Hartford  Saxony,  as  it  is  made  of 
high  pile  and  twisted  yarn  of  finest  quality ;  while 
the  Rego  Wilton,  made  by  The  Hardwick  & 
McGee  Company,  is  of  much  shorter  pile,  con- 
taining a  mixture  of  cotton  in  the  yarn,  but 
one  of  the  most  durable  Wiltons  made  for  the 
money.  The  Rego  Wilton  costs  about  $2.00 
less  per  yard  than  the  Hartford  Saxony.  While 
there  are  many  manufacturers  of  Wilton  Car- 
pets, the  principal  ones  are  The  Bigelow-Hart- 
ford  Company,  M.  J.  Whittal  Company  and 
Hardwick  &  McGee. 

Axminster  carpets  are  probably  the  next  best 
for  general  theatre  use,  and  are  made  by  many 
firms;  the  leaders  in  this  line  of  manufacture 
are  Alexander  Smith  and  The  Bigelow-Hart- 
ford  Company.  Axminsters  run  in  price  from 
$2.40  per  yard  to  $4.2.5  per  yard,  in  three- 
quarter  widths.  The  author,  however,  cannot 
recommend  Axminster  carpet  for  theatre  use, 
as  in  the  better  grades  of  Axminster,  to  gain 
durability  and  lasting  qualities,  the  pile  is  un- 
usually long,  making  it  more  apt  to  crush,  hold 

83 


dust  and  dirt  and  show  foot-marks  than  a  car- 
pet of  closer  pile  and  tighter  weave,  such  as 
Wilton. 

The  next  lower  grade  as  to  durability,  is  the 
Wilton  Velvet,  costing  from  $2.45  to  $2.75  per 
yard  in  three-quarter-yard  widths.  The  princi- 
pal manufacturers  of  Wilton  Velvet  are  Alexan- 
der Smith,  The  Park  Carpet  Mills  and  J.  &  J. 
Dobson. 

Wool  Velvet  carpets  made  of  short  yarn  can 
be  bought  as  low  as  $1.75  per  yard,  but  are  not 
serviceable. 

It  is  advisable  to  learn  the  manufacturers' 
names  in  buying  carpets  and  to  be  careful  to 
ascertain  whether  a  certain  grade  of  carpet  is 
yarn-dyed  or  printed.  Printed  colors  are  worth- 
less for  theatre  use. 

Cork  Carpet  and  Linoleum  are  more  suitable 
for  public  buildings  and  churches  than  for  the 
better  class  theatres,  since  they  lack  attractive- 
ness, and  do  not  usually  look  clean.  Cork  car- 
pet is  pliable,  noiseless  and  easy  in  tread;  it  is 
also  a  non-conductor  of  both  heat  and  cold,  and 
makes  a  worthy  floor  covering  for  the  somewhat 
smaller  houses.  The  price  per  square  yard  varies 
from  $1.50  to  $2.00  in  sizes  two  yards  wide  by 
seventy  to  eighty  feet  long. 

84 


Battleship  Linoleum,  while  the  better  quality 
is  as  thick  as  cork  carpet,  is  much  firmer  and 
lacks  the  flexibility  and  softness  of  cork  carpet. 
This  comes  in  three  colors :  brown,  green  and  tan, 
and  the  prices  average  from  $1.75  to  $2.50  per 
square  yard. 

Carpet  Linings:  Architects,  builders,  owners 
and  managers  sometimes  overlook  a  big  factor 
when  ordering  and  laying  carpet — lining. 

Lining  costs  from  6  to  18  cents  per  yard,  and 
it  is  far  better  to  use  a  double  layer  at  12  or  18 
cents  than  to  economize  with  a  single  layer  at 
8  cents  per  yard.  The  best  lining,  laid  in  double 
thickness,  adds  a  whole  year  to  the  life  of  a 
carpet. 

Laying  Carpets  on  Cement  Floors:  The  two 
most  practical  methods  for  laying  carpets  se- 
curely are :  Drill  holes  in  cement  floor  just  large 
enough  to  take  brass  sockets  tightly,  into  which 
are  driven  through  the  carpet  1^-inch  steel  pins. 
The  same  socket  method,  using  1^-inch  steel  pins 
sewed  to  the  under  side  of  carpet,  may  be  used. 
The  latter  method  is  less  satisfactory  if  the  car- 
pet is  taken  up  to  be  cleaned,  as  pins  thus  at- 
tached to  the  carpet  are  greatly  in  the  way. 

In  case  the  carpet  man  fails  to  secure  sockets 
and  carpet  pins  in  time,  the  seat  man  can  drill 

86 


holes  with  a  J -inch  drill  in  the  aisles  one 
foot  apart  on  a  line  laid  out  by  the  carpet  man. 
Any  lumber  mill  will  turn  out  the  necessary 
number  of  g-inch  wood  dowels,  1^  inches 
long,  and  the  carpet  man  can  drive  them  in 
the  holes.  The  carpet  then  can  be  laid  by  using 
r2-ounce  tacks  to  be  tacked  in  head  of  wood 
dowels.  The  mill  will  charge  about  one  or  one 
and  a  quarter  cents  apiece  for  the  wood  dow- 
els. 

Both  methods  of  fastening  carpets  to  cement 
floors  may  be  dispensed  with  if,  at  the  time  of 
construction,  where  carpet  is  to  be  laid,  2-inch 
furring  strips  J  inch  thick,  are  sunk  in  the 
cement  level  with  the  surface.  Where  the  strips 
are  laid  in  the  cement,  a  10-ounce  carpet  tack 
will  hold  the  carpet.  If  the  seating  plan  is 
correctly  laid  out,  so  that  aisles  are  not  changed 
in  location  or  width  after  the  cement  floor  is 
laid,  the  strip  arrangement  can  be  used  in  the 
aisles  as  well  as  around  the  edge  of  all  base 
boards  or  in  front  of  all  doors  at  floor  level. 

Carpet  is  not  being  laid  in  many  theatres 
between  seats,  except  one-half  width,  which  is 
13^  inches,  and  in  most  of  the  new  theatres 
having  cement  floors  no  carpets  are  laid  be- 
tween any  seats.  Carpet  should  be  laid  the  full 
width  of  aisles. 

86 


The  exposed  cement  floors  should  be  painted 
with  two  coats  of  best  quality  brown  or  dark 
red  cement  paint,  thus  affording  a  clean,  san- 
itary floor,  and  preventing  the  accumulation  of 
dust  and  dirt. 

The  life  and  beauty  of  carpets  may  be  con- 
served best  by  intelligent  use  of  a  first-class 
vacuum  cleaner,  one  powerful  enough  really  to 
remove  dust  and  dirt. 


Draperies   and   Hangings 

The  draperies  and  hangings  of  a  theatre  con- 
tribute touches  of  pictorial  embellishment,  and, 
if  worked  out  in  careful  harmony  with  the 
general  color  scheme,  and  in  subdued  richness 
and  tasteful  combinations,  add  greatly  to  the 
increasingly  important  feature  of  every  play- 
house's decoration. 

The  price  of  Silk  Damask  and  Silk  Velours 
has  so  risen,  owing  to  the  cost  of  raw  ma- 
terials, colors,  etc.,  that  they  have  become  al- 
most prohibitive  for  theatre  use,  except  in  the 
very  high-class  theatres. 

As  substitutes.  Cotton  Velvets,  Amures  and 
Tapestries  are  being  used  more  extensively. 
The  various  drapery  and  hanging  materials  are 

87 


here  enumerated  in  the  order  in  which  they  are 
most  widely  used : 

Cotton  Velvet  or  Velour  is  available  in  twelve 
to  fourteen  different  colors,  50  inches  wide,  at 
prices  ranging  from  $1.G5  to  $3.50  per  yard,  ac- 
cording to  the  quality.  The  five  most  attractive 
and  generally  used  colors  are:  Mulberry,  royal 
purple,  gun-powder  blue,  mahogany  and  Du 
Barry  rose.  This  grade  of  material  is  suitable 
for  almost  any  part  of  the  theatre,  from  the  act 
or  house  curtain  to  the  drapery  or  covering  of 
exposed  fire-hose  reels.  When  used  for  portieres, 
it  should  be  lined  with  sateen,  as  nearly  as  pos- 
sible the  same  color,  and  when  used  for  the  house 
curtain,  should  be  lined  with  heavy  denim. 

The  next  most  popular  drapery  is  A  mures, 
which  makes  good-looking  hangings  for  almost 
any  part  of  the  theatre.  It  is  double  faced,  50 
inches  wide  and  can  be  secured  in  six  to  eight  dif- 
ferent shades,  ranging  in  price  from  $1.25  to 
$2.50  per  yard.  Mercerized  A  mures  average  in 
price  from  $2.50  to  $3.25  per  yard. 

Poplin  comes  in  twelve  different  shades,  is  50 
inches  wide,  and  averages  in  price  from  $1.25  to 
$1.75  per  yard. 

88 


Rep  comes  50  inches  wide,  ten  to  twelve  dif- 
ferent shades  and  ranges  in  price  from  90c  to 
$1.25  per  j^'ard.  Both  Poplin  and  Rep  lack 
lustre  and  richness,  and  therefore  are  not  gen- 
erally used  for  theatre  draperies. 

Silk  Velours  are  usually  of  heavier  weight  and 
richer  lustre  than  Cotton  Velours.  This  mate- 
rial comes  in  the  same  number  of  shades,  and  in 
the  same  width  as  the  cotton  goods,  and  ranges 
in  price  from  $4.50  to  $7.00  per  yard. 

Cotton  Damask  comes  50  inches  wide,  in  ten 
to  twelve  different  shades,  and  ranges  in  price 
from  $1.60  to  $4.00  per  yard. 

Silk  Damask  comes  in  the  same  number  of 
shades  and  widths,  and  ranges  in  price  from  $3.00 
to  $9.00  per  yard. 

Cretonnes,  domestic  and  imported,  30  inches 
to  36  inches  wide,  range  in  price  from  25c  to 
$1.25.  The  same  goods  50  inches  wide,  from  90c 
to  $3.00  per  yard. 

Wool  or  Mercerized  Tapestries,  50  inches 
wide,  often  used  for  wall  decorations,  range  from 
$1.50  to  $9.00  per  yard. 

89 


Cotton  Tapestries,  32  inches  to  50  inches  wide, 
average  in  price  from  $1.45  to  $4.00  per  yard. 
This  particular  goods  is  used  extensively  for  at- 
tractive coverings  and  hangings  for  lounging  and 
retiring  rooms. 

Satin  Brocades  run  in  extra  heavy  weights,  50 
inches  wide,  and  run  from  $5.50  to  $8.00  per 
yard;  they  are  seldom  used  for  theatre  decora- 
tions. 

Draperies   for    Inside   of   Foyer   Doors   on 

Glass 

Plain  Net  (Ecru),  %  yd.  wide,  60c  to  $1.25  per 

yd. 

Irish  Point  Lace   (Ecru),  ^  yd.  wide,  $1.25  to 
$4.75  per  yd. 

Plain  Chinese  Silk   (7  colors),  31  inches  wide, 
75c  to  $1.00  per  yd. 

Figured  Silk  (7  colors),  31  inches  wide,  $2.50 
to  $4.50  per  yd. 

Mahogany,  crimson,  dark  red  and  golden- 
brown  make  attractive  colors  for  this  work. 

Valenciennes  draperies  are  made  plain, 
trimmed  with  a  braid  of  lighter  or  darker  shade. 

90 


Draped  or  pleated  Valenciennes  and  heavy  silk 
galoons  are  not  extensively  used. 

Fixtures  for  Hanging  Draperies  and 
Curtains 

FiiVtures:  Where  it  is  necessary  to  place  poles 
at  orchestra  pit,  box  doors,  entrances  to  boxes 
and  exit  doors,  and  it  is  desired  to  conceal  rings 
or  poles,  to  any  size  tubing  may  be  attached  the 
"Easy  Attachable  Flat  Track."  The  fewer 
poles  and  rings  shown,  the  more  attractive  the 
draperies  and  hangings  will  appear.  The  day 
of  a  large  display  of  polished  brass  poles  and 
rings  is  fast  passing.  This  track  as  well  as  all 
kinds  of  gimp  tacks,  curtain  holders,  bracket 
rings,  escutcheon  pins,  curtain-pole  sockets, 
brass  rods,  metal  stair-plates,  grommets,  cur- 
tain weight-braid,  etc.,  are  seldom  stocked  by 
local  dealers,  but  upon  inquiry  of  the  large 
drapery-fixture  supply  houses  they  may  be  se- 
cured. 


91 


CHAPTER  II 

EQUIPMENT  AND  OPERATION 

THE  author  urges  the  reader,  particularly 
if  a  new  theatre  is  being  opened,  or  one 
that  has  been  closed  for  some  time  is  be- 
ing re-opened,  to  give  careful  attention  to  this 
chapter.  Too  often,  in  the  multitude  of  details 
connected  with  the  opening  of  a  house,  things 
of  vital  importance  are  overlooked,  and  it  is 
rarely  the  case  that  a  theatre  is  opened  com- 
pletely equipped. 

The  subject  of  equipment  will  be  treated  pro- 
gressively— that  is,  by  departments — starting  at 
the  front  of  the  theatre  and  finishing  at  the  stage 
door.  It  is,  of  course,  in  keeping  with  practice 
and  experience  to  recommend  the  use  of  stand- 
ard articles,  as  in  the  long  run  they  are  material- 
ly cheaper  than  inferior  products.  It  is  pertinent 
to  observe,  in  this  connection,  that  it  takes  a  pe- 
culiar and  particular  knowledge  of  the  require- 
ments of  a  theatre  to  enable  a  manufacturer  to 

92 


build  articles  or  equipment  especially  suited  to 
its  needs.  For  instance,  it  is  reasonable  to  sup- 
pose that  a  stage  brace,  manufactured  by  a  firm 
with  years  of  experience  as  makers  of  stage  hard- 
ware, will  be  more  desirable  than  one  assembled 
by  a  firm  with  little  or  no  knowledge  of  the 
strains  a  brace  should  be  fitted  to  withstand,  its 
practical  uses,  etc. 

Therefore,  the  recommendations  made  in  this 
article  have  in  view  solely  the  best  results  ob- 
tainable with  minimum  expenditure,  on  the  sea- 
son's or  a  longer  term  of  operation,  and  are 
based  upon  an  accurate  knowledge  of  the  ex- 
periences of  many  managers  in  many  theatres. 

Considering  the  theatre,  therefore,  from  the 
standpoint  of  equipment  required  for  its  va- 
rious departments  in  the  order  suggested,  we 
come  first  to  the 

Lobby 

As  the  "front  yard"  of  the  theatre,  an  in- 
dex to  the  condition  one  may  expect  to  en- 
counter within  the  house,  its  equipment  should 
be  carefully  chosen,  complete  and  in  harmony 
with  the  surroundings. 

Photograph  and  other  display  frames,  con- 
cerning which   somewhat   has  been   said   under 

93 


the  heading  of  "Lobby  Display"  in  this  hook, 
should  be  selected  only  after  a  careful  study 
of  the  catalogues  of  the  principal  frame  mak- 
ers, who  through  years  of  experience  have  elim- 
inated the  impractical,  have  corrected  faulty 
construction,  and  have  learned  what  will  and 
what  will  not  work  out  to  the  best  ultimate  ad- 
vantage. In  accordance  with  the  size  of  the 
lobby  and  the  display  possibilities  of  the  front, 
suitable  frames  should  be  ordered  from  one 
maker  in  a  single  lot.  This  will  assure  a  har- 
monious equipment,  and  not  a  heterogeneous 
collection  of  odds  and  ends  in  varied  finishes 
and  shapes  of  moulding. 

If  the  lobby  is  now  equipped  with  an  as- 
sorted, illy-matched  lot  of  frames,  no  better  in- 
vestment can  be  made  than  to  re-equip  it  with 
suitable  and  harmonious  ones,  bearing  in  mind, 
of  course,  that  unless  the  surroundings  are  in 
keeping,  the  new  frames  are  quite  likely  by  con- 
trast to  emphasize  the  need  for  attention  to  the 
general  condition  of  the  lobby. 

The  advisability  may  be  suggested  of  secur- 
ing frames  for  hotel-lobby  and  about-town  lo- 
cations from  the  same  maker  and  in  a  gen- 
erally uniform  pattern,  as  this  serves  to  identify 
them  with  one  particular  theatre. 

If  a  photograph  or  detailed  plan  of  front  and 

94. 


lobby  is  sent  to  any  of  the  well-established  con- 
cerns making  a  specialty  of  theatrical  frames, 
they  will  submit,  free  of  cost,  designs  for  frames 
and  arrangements  thereof,  which  will  be  of  the 
greatest  effectiveness   for  display  purposes. 

Rubber,  leather,  steel  or  cocoa-matting  should 
invariably  be  laid  hi  the  lobby  during  rainy, 
muddy  and  inclement  weather,  from  the  door 
to  the  entrances.  This  will  save  carpet,  for  the 
patron  generally  gets  the  soles  of  his  shoes 
fairly  dry  and  free  from  mud  before  reaching 
the  carpeted  floors.  As  to  what  type  of  mats 
to  use,  the  reader  will  be  guided  by  his  own 
judgment.  The  writer's  recommendation  is: 
first,  the  leather  mat;  second,  the  rubber;  third, 
the  steel,  and  last,  the  cocoa-matting.  The  first, 
while  somewhat  more  expensive,  is  practically 
everlasting;  it  rolls  and  handles  easily,  gives 
the  walker  a  very  firm  footing,  and  is  being 
used  in  the  better  theatres  almost  exclusively. 
The  rubber  mat  or  strip,  next  in  preference,  is 
equally  good  except  as  to  durability;  the  steel 
mat  is  noisy,  trips  patrons  and  scrapes  mud  off 
the  feet  without  drying  them — it  looks  cheap, 
but  isn't;  the  cocoa-matting  is  cheap,  looks  it, 
soaks  up  water,  becomes  soggy,  is  hard  to  dry 
out,  and  does  not  wear  well. 

96 


Another  important  item  of  the  equipment  in 
a  lohby  is  the  receptacle  provided  in  which  pa- 
trons are  to  throw  cigar  and  cigarette  butts,  ex- 
pectorate, etc.  There  is  the  conventional  brass 
cuspidor,  often  unpolished  and  badly  dented. 
Overloaded  and  overturned  now  and  then,  its 
filthy  contents  likely  to  soil  the  skirt  of  some 
woman  passing,  it  has  already  been  consigned 
to  limbo  by  the  more  progressive  theatres.  In 
its  place  are  found  terra  cotta  or  pottery  um- 
brella stands,  about  one-fifth  filled  with  sand, 
and  conveniently  placed  about  the  lobby. 

A  brass  railing  should,  by  all  means,  be  used 
to  regulate  traffic  at  the  box-office  window. 
This  should  not  be  made  of  too  light  a  tubing, 
or  inseciu'ely  set  in  the  floor.  It  is  the  custom 
of  patrons  to  lean  heavily  against  it;  of  chil- 
dren to  use  it  in  acrobatic  endeavors  while  their 
parents  are  purchasing  tickets,  etc.,  and  it  should 
be  strong  enough  and  firm  enough  to  withstand 
such  usage.  It  should  be  long  enough  to  guide 
traffic  past  the  window  single-file,  and  suffi- 
ciently close  to  the  counter  so  that  two  or  more 
cannot  crowd  up  to  the  window  at  the  same 
time. 

The  outside  of  the  box-office  should  have  one 
or  more  frames  containing  cards  displaying 
schedule  of  performances,  prices  of  admission  to 

96 


various  sections,  and  stating  the  time  up  to 
which  reservations  will  he  held  for  various  per- 
formances. Though  it  is  customary  to  display 
this  outside  the  hox-office,  it  may  also  be  dis- 
played in  other  parts  of  the  lobby,  where  every 
patron  enroute  to  the  box-office  will  be  likely 
to  see  it. 

The  ticket-box  for  the  door-man  should  be,  in 
design  and  finish,  harmonious  with  the  other  fur- 
nishings. It  should  be  provided  with  a  secure 
lock,  to  which  the  manager  only  should  have  a 
key.  Various  styles  and  types  of  such  boxes  are 
listed  by  the  important  frame  and  supply  houses. 
As  this  box  and  its  handling  are  an  important 
safeguard  against  dishonest  practices  upon  the 
part  of  the  door-man  and  others,  the  need  of  se- 
cure locking  is  emphasized. 

Each  entrance  to  the  theatre  proper,  that  is, 
doors  and  openings  from  lobby  into  foyer, 
should  be  equipped  with  a  velvet-covered  Ij- 
inch  rope,  fitted  with  brass  rings  or  hooks  at 
each  end,  to  bar  openings  not  to  be  used. 


Box-Office 

The  box-office  should  be  thoroughly  equipped 
with  the  latest  approved  devices  for  handling 

97 


not  only  the  sale  of  tickets  and  the  making  of 
change,  hut  as  well  the  accounting,  checking 
and  storing  of  tickets,  supplies,  etc. 

For  the  proper  handling  of  money,  an  ample 
money  drawer  with  good  lock,  an  approved 
change  machine,  and  a  dependable  safe  should 
be  provided.  Also,  for  the  handling  of  coupon- 
tickets,  racks  built  with  slots  representing  each 
reserved  seat  in  the  theatre;  cabinet  racks  that 
will  store,  so  they  are  quickly  accessible,  tickets 
for  each  performance  two  weeks  ahead;  reserva- 
tion cabinets  alphabetically  arranged,  of  which 
four  to  six  will  generally  meet  requirements; 
conveniently  placed  spool-holders  for  reel-tick- 
ets. Ample  storage  space,  protected  by  good 
locks,  for  stock  of  tickets,  report  forms,  ticket 
envelopes,  etc. 

There  should  be  an  inter-communicating  tele- 
phone system,  and  a  convenient  arrangement 
of  telephones  so  that  orders  coming  in  may  have 
prompt  attention. 

Waste  baskets,  sponge  cup  and  sponge, 
shears,  library  paste,  rubber  bands  and  the  usual 
paraphernalia  of  an  office  should  be  provided, 
together  with  statement  of  report  forms,  car- 
bon paper,  etc. 

98 


Foyer 

Just  inside  the  foyer  door,  or  close  to  the 
ticket-taker,  there  should  be  a  good-looking 
waste  basket  or  other  receptacle  for  the  en- 
velopes from   which  tickets  are  taken. 

A  carpet-cover  of  12-oimce  waterproof  canvas 
should  be  provided,  of  sufficient  size  to  protect 
the  carpets  in  muddy  weather.  This  should  be 
long  enough  to  reach  from  the  foyer  entrance  to 
the  heads  of  aisles  on  the  main  floor,  and  to  the 
balcony  stairs  on  each  side,  if  these  are  located 
inside  foyer. 

If  the  foyer  is  spacious,  furniture,  hangings, 
pictures,  etc.,  of  appropriate  style  should  be  pro- 
vided. Drinking  fountains,  dispensing  pure 
iced  water,  should  be  placed  in  the  foyer.  Mod- 
ern practice  demands  that  these  be  of  the  san- 
itary type,  and  most  well-managed  theatres 
provide  the  individual  paper  cups  for  the  pa- 
tron's use. 

Auditorium 

In  the  main,  equipment  for  the  auditorium 
consists  of  the  carpets,  seats,  lighting  fixtures, 
etc.,  and  these  are  of  such  importance  that  they 
are  treated  under  separate   headings. 

99 


There  are  the  items  of  fire  extinguishers, 
which  should  be  of  the  type  approved  by  the 
Underwriters'  Laboratories;  of  fire-hose  hnes, 
which  should  bear  the  same  approval,  all  of 
which  should  be  placed  on  each  floor  in  ac- 
cessible locations.  These  are  treated  under  the 
heading  of  "Fire  and  Panics." 

Brass  Railings.  There  is  no  question  as  to 
the  beauty,  richness  and  taste  of  the  brass  rail- 
ing IF  IT  IS  KEPT  POLISHED,  but  keeping  it  pol- 
ished involves  diligent  daily  attention,  which  it  is 
sometimes  difficult  to  secure  from  the  average 
cleaner.  Where  brass  railings  are  used,  as 
around  boxes,  stair  rails,  etc.,  it  is  advisable  to 
use  the  plain,  heavy-weight  designs,  avoiding 
elaborate  decorative  effects  in  railings,  standards 
and  brackets.  It  is  often  found  desirable  to  use 
Ij-inch  wrought-iron  pipe,  painted  with  stand- 
ard iron  pipe  paint,  wrapped  with  muslin  and 
then  covered  with  cotton  velvet  or  silk  velour  of 
a  color  to  match  the  hangings. 

In  some  theatres  a  part  of  the  main  or  bal- 
cony floor  only  is  reserved,  the  balance  of  the 
floor  being  "general  admission;"  in  such  cases, 
provide  signs  so  placed  that  patrons  entitled  to 
sit  in  the  unreserved  section  will  not  seat  them- 
selves in  the  reserved  seats.     A  very  suitable 

100 


means  of  doing  this  is  to  use  a  2-inch  hrass 
standard,  rising  6  inches  higher  than  the  back 
of  the  chairs,  with  a  brass  plate  3  inches  by  8 
inches  on  top,  bearing  the  inscription  "RE- 
SERVED SEAT  SECTION"  neatly  lettered 
in  black.  The  bottom  of  the  standard  should 
fit  snugly  in  a  socket  in  the  floor,  and  if  it  is 
desired  to  move  the  reserved  seat  section  back- 
ward or  forward  two  or  three  rows  on  holidays, 
etc.,  the  sockets  to  receive  the  standard  may  be 
placed  accordingly.  This  type  of  standard  is  of 
material  assistance  to  the  ushers  in  seating  pa- 
trons in  the  proper  section. 

Bronze  railings  and  those  made  of  other 
metals  intended  as  a  substitute  for  brass  and  to 
look  rich  while  eliminating  the  need  for  daily 
polishing,  have  never  proved  acceptable.  In 
fact,  the  only  acceptable  substitute,  in  the 
writer's  experience,  is  a  velvet-covered  iron 
pipe,  which  under  ordinary  conditions  must  be 
re-covered  each  season. 


Manager's  Office 

There  should  be  the  usual  equipment  of  office 
furniture:  typewriter,  filing  cabinet,  stationery, 
etc. 

101 


The  telephone  system  (preferably  of  the  in- 
ter-communicating type  installed  by  the  local 
exchange,  rather  than  an  independent  system 
which  in  practice  is  out  of  order  most  of  the 
time)  should  have  stations  in  the  manager's 
office,  box-office,  picture  booth  and  on  the  stage. 

Ladies'  Room 

Ample  mirrored  surfaces  or  mirror  equip- 
ment; brush  and  comb,  hairpins,  plain  and  safe- 
ty pins,  a  small  stock  of  hatpins,  a  hand  mir- 
ror and  a  box  of  talcum  are  necessities;  and  if 
there  is  a  maid  in  charge,  she  should  have  on 
hand  a  bottle  each  of  smelling  salts,  aromatic 
spii'its  of  ammonia  and  Jamaica  ginger,  as  well 
as  a  limited  stock  of  sanitary  napkins  and  a 
small  flask  of  brandy.  These  latter  items  are 
for  use  in  instances  of  fainting,  illness,  etc.,  and 
should  all  be  contained  in  an  emergency  cab- 
inet. 

It  has  been  found  necessary  to  provide  a 
special  dressing-table,  with  a  large  mirror,  for 
patrons  to  use  when  combing  hair;  if  hair  is 
combed  over  the  wash-stands,  plumbing  trouble 
ensues.  The  maid  should  be  instructed  to  for- 
bid this  practice,  or  a  neatly  lettered  sign  to 
that  effect  should  be  hung  in  the  room. 

102 


Glass-tubed,  nickeled  automatic  venders  can 
be  secured  for  dispensing  sanitary  napkins, 
which  require  deposit  of  a  nickel,  cost  price  of 
the  napkin,  before  releasing  the  article;  there 
should  also  be  a  nickel-plated  or  white-enameled 
covered  container  for  used  napkins. 

A  small,  completely  equipped  First  Aid  Cab- 
inet should  be  provided,  with  sufficient  stock  of 
bandages,   absorbent  cotton,  lint,  etc. 

The  furnishings,  consisting  of  chairs,  dressing- 
tables,  lounge,  settee,  etc.,  and  other  appoint- 
ments such  as  carpets,  rugs  and  pictures,  should 
be  feminine  in  tone;  light  and  airy  rather  than 
heavy  and  sombre. 

The  elaborateness  with  which  furnished  and 
equipped,  the  matter  of  providing  a  maid,  and 
the  importance  attached  to  a  suitable  retiring- 
room  for  women  patrons,  deserve  careful  con- 
sideration. This  is  part  of  the  "service"  which 
the  theatre  renders,  and  should  be  properly 
done.  If  there  is  suitable  space,  a  public  tele- 
phone booth  with  suppressed  buzzer  or  bell 
should  be  installed. 

Gentlemen's  Room 

Another  department  of  the  theatre  which, 
though  not  directly  a  revenue  producer,  never- 

103 


theless,  if  installed  at  all,  merits  proper  main- 
tenance and  equipment.  In  a  vaudeville  theatre, 
where  intermissions  are  not  the  rule,  this  room 
will  probably  not  be  nmch  used,  except  in  con- 
nection with  its  toilet  facilities,  but  the  expense 
of  equipping  it  as  a  very  small  and  intimate  club 
might  be  equipped  has  in  general  experience 
been  found  well  justified.  Cuspidors,  ash  trays 
and  an  electric,  gas,  or  similar  cigar-lighter,  with 
a  few  comfortable  chairs  and  a  substantial  table, 
a  durable,  dark-toned  rug  and  a  few  suitable 
pictures  will  generally  suffice  as  to  furnishings. 
Of  course,  this  list  may  be  elaborated,  or  reduced, 
depending  upon  conditions ;  but  it  is  recommend- 
ed that  the  subject  be  not  dismissed  from  con- 
sideration without  a  thorough  study  of  its  im- 
portance. 

It  is  well  to  install  a  public  telephone  booth 
with  suppressed  buzzer  or  bell  in  this  room. 

Toilets 

Aside  from  suitable  urinal  (standing  type) 
and  seat  facilities,  the  different  types  of  which 
need  not  be  discussed  in  this  article,  there  are 
but  three  main  important  items  in  connection 
with  the  equipment  of  toilets,  i.e.,  toilet  paper, 
soap  and  towels. 

104 


There  are  several  patented  toilet  paper  hold- 
ers, designed  to  dispense  the  paper  economically 
and  conveniently.  Some  of  these  are  good,  some 
not  so  good;  the  writer  suggests  as  the  prefer- 
able equipment  in  this  particular,  the  Spring- 
field holder  and  paper,  the  suggestion  being 
based  upon  long  and  favorable  experience  with 
this  type. 

Comparing  the  bar  of  soap,  liquid  dispenser 
and  apparatus  which  shaves  a  dry  powder  from 
a  bar  enclosed  in  the  holder,  the  last  named  type 
has  proved  unfailingly  satisfactory  and  econom- 
ical. 

The  towel  equipment,  considering  loose  hand- 
towels,  the  individual  hand-towel  fastened  on  a 
nickeled  rod  and  as  used,  falling  into  a  boxed 
receptacle,  the  roller-towel  (dirty,  unsanitary 
and  forbidden  by  law  in  many  states,)  and  the 
patented  paper-towel  and  receptacle,  the  last 
is  efficient  and  economical. 

There  is  also  a  new  type  of  towel-holder 
which  provides  a  clean  surface  of  roller-towel  to 
each  user,  the  used  or  soiled  portion  pulling  into 
the  container.  This  is  known  as  the  "Pullclean 
Towel  Cabinet,"  and  is  a  practical,  economical 
equipment. 

106 


Ushers'  Room 

The  dressing-room  provided  should  be 
equipped  with  ample  hanger  space,  and  hangers 
for  uniforms  when  not  in  use.  It  should  also  l)e 
equipped  with  lavatory,  mirror,  brushes  and 
combs,  shoe  brushes,  whisk  brooms  and  the 
items  incidental  to  keeping  clothing,  etc.,  in 
neat  condition.  As  ushers  are  required  to  be 
"spick  and  span"  in  appearance  in  the  theatre, 
the  facilities  with  which  to  accomplish  this 
sliould  be  provided  in  the  dressing-room. 

This  room  should  be  frequently  inspected  by 
the  superintendent  or  manager;  order  and  neat- 
ness should  be  insisted  upon. 

In  many  theatres,  metal  lockers,  with  locks, 
are  provided  for  the  ushers  in  which  to  keep 
their  street  clothes  while  on  duty  in  uniform. 
The  plan  is  good;  it  obviates  arguments  when 
personal  effects  of  ushers  are  missing — and 
tends  to  make  each  usher  directly  responsible 
for  properly  caring  for  his  uniform.  The  prac- 
tice in  such  instances  is  to  require  the  usher  to 
deposit  the  key  to  the  locker  with  the  superin- 
tendent when  leaving  the  theatre,  and  secure 
it  from  him  or  his  office  when  reporting  for 
duty.  This  provides  a  check  upon  the  coming 
and  going,  promptness,  etc.,  of  the  usher. 

106 


Porters'  and  Cleaners'  Rooms 


Here  should  be  provided  ample  shelf  room 
for  the  storage  of  buckets,  mops,  brooms,  sup- 
plies, etc.  The  supplies  should  be  kept  in  a 
locked  cabinet,  by  the  head  porter  or  janitor, 
who  should  be  responsible  for  the  issuance  and 
economical  use  thereof. 

Holders  for  brooms  and  mops,  hangers  for 
brushes,  etc.,  should  be  provided,  and  it  will  be 
found  that  economy  in  the  use  of  these  articles 
will  follow  a  rigid  policy  of  requiring  them  to 
be  kept  in  their  proper  places  when  not  in  use. 

Here  follows  a  list  of  cleaners',  porters'  and 
janitors'  utensils: 

UTENSILS 

ABTICLE 

Pails,  galvanized  iron,  standard  weight. 

Pails,  pine  mop,  heavy   arm. 

"Wundermop,"    complete    with    handles    and 

clamps. 
Mops,  "Wundermop." 
Wringers,  standard  metal  lever  or  press. 
Brushes,  scrub. 
Brushes,  scrub,  triangular. 
Brushes,   scrub,    radiator. 
Brushes,  sanitary,  sink  and  cuspidor. 
Brushes,  water  closet. 
Brushes,  ceiling,  12"  block. 
Brushes,    floor,    14"    block,    Tipperary,    mule 

hair. 
Brushes,    floor,    30"    block,    Tipperary,    mule 

hair. 
Brooms,   corn. 

Brooms,  whisk,  "Reliance,"  small. 
Brooms,  whisk,  "Reliance,"  large. 


QUANT.        SIZE 

4 
4 
4 

12-quart 
14-quart 
standard 

12 

standard 

4 

No.  1- 

6 

Essex 

8 

3 
2 

Ajax 

Dayton 

Beekman 

2 

Essex 

2 

Carlton 

2 

No.C-2 

2 

No.  C-7 

12 

No.  8 

3 

No.  0 

3 

No.  3 

107 


1 

6 

6 

12 

1 

12 
1 
2 
4 
2 
4 
3 


No.  C-12 

X-large 

standard 

20-inch 

Municipal 

standard 

lot-assorted 

pair,  assorted 
lb.,  assorted 
24  X  27" 
24  X  36" 
3-bushel 
standard 
standard 

assorted 

standard 
assorted 

25-foot 
No.  0 
standard 
48-inch 
assorted 


assorted 


Brushes,  dust,  hand. 

Sweepers,  carpet,  Bissell,  "Club." 

Cleaner,   vacuum,    Bissell. 

Dusters,  feather,  "Army  and  Navy,"  200-taiL 

Brushes,  dustless. 

Cloths,  dustless,  "Black  Cat." 

Cloths,  linen  and  cotton  rags   (from  laundry 

and  ragman). 
Cloths,  scrub,  Union  Mills. 
Sponges,  large. 
Chamois. 

Bags,  waste  paper,  canvas,  "Hudson." 
Baskets,  oblong,  laundry. 
Dustpans,  steel-edge,  extra  strong. 
Dustpans,  galv.  iron,  swinging,  with  handles, 

"Waldorf." 
Shovels,  No.  2D   Handle,  No.  8  Coal  Scoop, 

steel  snow. 
Ice  Chopper,  or  sidewalk  cleaner. 
Step  ladders,  hardwood,  8'  8"  and  12',  strong 

and  light. 
Ladder,  extension. 
Auger,  water-closet,  Wrigley. 
Plunger  or  force-pump,  long  handle. 
Truck,  hand. 
Lot  of  screws,  nails,  wire,  hooks,  screw-eyes, 

etc.,  for  use  in  making  minor  repairs  about 

theatre. 
Lot    of    tools,    hammers,    large    and    small; 

screw-drivers,    saws,    braces    and    assorted 

bitts,  plane,  chisels,  square,  yardstick,  etc. 


Note. — The  necessary  portion  of  the  above  utensils  should  be 
turned  over  to  the  stage-manager,  for  exclusive  use  on  stage, 
avoiding  joint  use  by  stage  employees  and  house-cleaning  staflF  of 
these  articles. 


Cleaning  Materials 

All-in-One .  This  fluid  is  a  combined  cleanser, 
antiseptic,  germicide  and  refinisher;  will 
clean  thoroughly  the  surface  and  polish  as 


108 


well    tile,    cork,    wood    or    linoleum    floors, 
walls,  woodwork  and  glass. 

Dustol — 10.  Also  Dustdown — Dusthane.  Are 
modern  hygienic  sweeping  compounds;  san- 
itary, absorb  dust. 

Marble  and  Tile  Cleaners.  There  are  many 
kinds  and  brands,  i.  e.,  Wyandotte  Deter- 
gent, Perfection,  Old  Dutch.  Swift's,  Gib- 
son's, Marblica,  Presto,  etc.,  etc. 

Soap  Powders.  There  are  makes  and  names  in 
abundance,  all  claiming  to  be  the  best.,  i.  e. 
Hanover,  Swift's,  Gold  Dust,  Pearline,  1776, 
Soapine,  Washoline,  etc.,  etc. 

Metal  Polishes.  Liquid  and  paste;  the  names 
of  brands  are  almost  unlimited.  Brilliant, 
Elk,  Blue  Ribbon,  Bartenders'  Friend,  Sun- 
set and  Putz  Pomade  are  but  a  few  of  the 
better  known. 

Floor  and  Furniture  Polish.  In  this  material 
it  pays  alwaj^s  to  get  the  best;  an  oil  that 
will  not  gum  or  stick  and  one  that  will  rub 
down  to  a  quick  and  clean  polish.  A  few  of 
the  many  are  O-Cedar  Oil,  Alpine,  All-In- 
One,  Liquid  Veneer,  etc.,  etc. 

109 


There  are  numberless  different  brands  and 
kinds  of  cleaners'  materials,  made  of  an  end- 
less variety  of  ingredients;  no  attempt  is  made 
to  list  them  all,  but  rather  a  few  known  to  the 
author  as  being  thoroughly  well  adapted  to  and 
economical  for  the  purposes  intended. 

An  efficient  cleaner  may  get  fairly  good  re- 
sults from  medium-quality  cleaning  materials, 
while  the  best  cleaning  material  in  the  hands  of 
an  imintelligent  workman  may  show  poor  re- 
sults. All  porters  and  cleaners  should  be  in- 
structed to  follow  the  directions  exactly  as  giv- 
en, in  the  mixing,  diluting  and  using  of  all 
cleaning  materials,  and  should  not  endeavor  to 
improve  on  these  directions  by  using  a  little 
more  or  a  little  less  than  the  instructions  call 
for. 

Cleaners  should  thoroughly  wash  all  surfaces 
with  plain  water  after  using  any  soft  soap,  pow- 
der or  acid  cleaning  preparation  on  marble  or  tile 
floors. 

In  scrubbing  or  mopping  floors  with  water 
containing  cleaning  materials  such  as  strong 
soap,  lye,  etc.,  care  should  be  taken  that  this 
mixture  does  not  come  in  contact  with  painted 
wood  baseboard. 

110 


Check-Room 

If  a  check-room  is  to  be  operated,  and  in 
most  modern  theatres  it  is  considered  an  es- 
sential part  of  the  service  rendered  to  patrons, 
it  should  be  properly  operated,  and  this  involves 
the  employment  of  a  cheerful,  neatly  dressed, 
willing  and  courteous  attendant;,  alert  and  deft 
in  handling  the  articles  entrusted  to  him. 

The  department  is  important  enough  to  war- 
rant a  special  employee,  not  one  from  another 
department   "doubling"   in  the   check-room. 

This  room  should  be  open  and  the  attendant 
on  duty  from  the  time  the  doors  are  open  until 
the  last  patron  has  left  the  house  after  the 
show,  and  the  final  duty  of  this  employee  before 
closing  check-room  should  be  to  see  that  there 
are  no  outstanding  checks,  or  that,  if  there  are 
such,  the  articles  covered  by  them  are  in  the 
check-room. 

It  should  be  the  invariable  rule  that  no  tips 
are  to  be  accepted  in  this  department;  the  ser- 
vice should  be  rendered  gratis,  and  it  should  be 
seen  to  that  the  attendant  does  not  "hint"  di- 
rectly or  indirectly  that  gratuities  would  be  ac- 
ceptable. 

Coats,  capes  and  wraps  should  be  hung  on 
hangers,    not    slung   carelessly   on    hooks;    un>- 

111 


brellas  should  be  placed  in  stands,  not  stacked 
on  shelves  or  in  corners,  and  it  should  be  made 
the  attendant's  duty  to  see  that  the  supply  of 
checks  is  maintained. 

The  superintendent  or  manager  should  in- 
spect this  department  and  its  attendant  regu- 
larly, and  see  that  a  prompt  and  efficient  in- 
coming and  outgoing  service  is  maintained.  As 
patrons  are  leaving  it  is  usually  practicable  to 
assign  an  usher  to  assist  them  in  putting  on 
overcoats,  etc. 

At  some  theatres  the  check-room  is  provided 
with  a  stock  of  umbrellas,  fifty  to  a  hundred  or 
more,  for  the  use  of  patrons  who  may  be  in  the 
theatre  when  it  starts  raining,  and  who  need  an 
umbrella  when  leaving.  Uj^on  deposit  of  $1, 
they  are  given  an  umbrella,  which  is  to  be  re- 
turned within  three  daj^s,  when  the  dollar  is 
refunded.  Usually  this  feature  of  the  work  is 
under  the  treasurer's  direction  as  to  accounting 
for  the  umbrellas — and  at  monthly  inventories 
he  is  held  responsible  for  having  either  the 
original  number  of  umbrellas  or  $1  for  each 
one  missing.  Some  theatres  handle  this  feature 
of  their  service  through  the  box-oflSce  entirely. 

A  check-room  will  pay  for  itself  within  a 
very  short  time,  in  the  saving  effected  by  pa- 
trons checking  wet,  muddy  garments,  umbrellas, 

112 


overshoes,  etc.,  which  would  otherwise  damage 
seats  and  carpets.  It  is  a  not  unimportant  part 
of  the  service  of  the  theatre,  and  should  be  so 
conducted  as  to  make  it  a  pleasure  for  patrons 
to  utilize  its  facilities. 


Nursery 

If  the  theatre  provides  a  nursery,  and  in  mod- 
ern practice  this  is  usually  considered  essential 
even  if  not  used  extensively,  it  will  create  fa- 
vorable comment  as  to  the  service  of  the  house. 
It  should  be  borne  in  mind  that  the  little  ones 
who  will  be  taken  care  of  in  this  department 
for  an  hour  or  two  during  the  show  must  be 
kept  quiet. 

Therefore,  a  pile  of  clean,  white  sand,  in  a 
box  about  6  feet  by  6  feet,  with  sides  about  8 
inches  high;  an  assortment  of  substantial  toys, 
such  as  hobby-horses  and  similar  rocking  toys; 
two  cribs  with  bedding;  small  rocking-chairs  and 
lettered  and  numbered  building  blocks,  should 
be  provided. 

The  equipment  should  also  include  a  small 
toilet  seat,  which  can  be  used  on  the  adult  seat, 
unless,  of  course,  the  child's-size  toilet  is  pro- 
vided. 

113 


Bill-Room 

This  room,  used  by  the  bill-poster,  lobby- 
decorator,  etc.,  should  be  equipped  with  a  large, 
substantial  table,  which  can  be  used  for  cutting 
matt  board  on,  etc.;  liberal  shelf  room,  and 
should  be  well  lighted.  It  is  not  advisable  to 
endeavor  to  equip  it  with  the  tools  which  may 
be  required,  for  the  reason  that  individual  work- 
men have  their  preferences  as  to  these  and 
usually  furnish  them  themselves. 

Moving-Picture  Booth 

As  there  are  a  number  of  standard  moving- 
picture  projection  machines,  each  with  special 
claims  for  preference,  and  the  theatre  will  be 
solicited  by  the  representatives  of  each,  no  at- 
tempt will  be  made  in  this  article  to  discuss  the 
relative  merits  of  such  apparatus.  It  is  urg- 
ently recommended,  however,  that  only  a  stand- 
ard equipment  be  installed,  under  supervision 
of  the  factory  experts  whom  the  makers  of  the 
apparatus  will  send  for  the  purpose;  or  in  con- 
sultation with  experienced  projection  special- 
ists, whose  services  will  be  at  the  theatre's  com- 
mand in  the  installation  of  this  equipment.  It 
is  usually  the  safest  practice  to  turn  this  entire 

114 


proposition  over  to  one  concern,  under  a  writ- 
ten contract  providing  for  satisfactory  projec- 
tion before  payment  is  made  for  the  apparatus. 

In  addition  to  the  projection  machines,  there 
is  of  course  the  matter  of  rectifiers,  transform- 
ers, switchboards,  re-winders  and  such  suppHes 
as  carbons,  etc.,  upon  all  of  which  competent 
advice  will  be  given  gratis  by  the  concerns  spe- 
cializing in  moving-picture  projection  and 
equipment. 

The  fire-extinguishing  apparatus  should  in- 
clude only  approved  types;  and  a  pail  of  clean, 
dry  sand  should  be  placed  adjacent  to  each 
machine  in  the  booth. 

The  spotlight  equipment,  color  wheels  and 
media,  if  spot  is  to  be  operated  from  the  booth, 
should  be  a  complete  and  approved  installa- 
tion. 

A  station  on  the  inter-communicating  tele- 
phone system  should  be  located  in  the  booth. 


115 


CHAPTER     III 

THE  STAFF 

Front  of  House 

IN  its  general  details,  the  managing  of  a 
theatre  resembles  nothing  so  much  as  the 
managing  of  a  ship;  there  is  more  than  the 
flavor  of  an  old  saw  in  the  admonition  to  "keep 
things  ship-shape."  Eternal  vigilance  is  the 
price  that  the  manager,  as  well  as  the  ship's 
captain,  must  pay  in  order  to  attain  the  high- 
est efficiency  and  the  best  results.  It  should 
never  be  forgotten  that  the  theatre  draws  peo- 
ple of  all  sorts  and  conditions;  in  particular 
does  the  vaudeville  house  draw  from  both  the 
classes  and  the  masses.  A  theatre  should  rep- 
resent to  the  less  favored  of  its  patrons,  some- 
thing finer  and  more  desirable  than  their  or- 
dinary surroundings;  and  to  the  better  class, 
it  should  never  present  itself  as  inferior  to  the 
environment  to  which  such  persons  are  accus- 
tomed. 

116 


If  undue  insistence  seems  to  be  laid  upon  the 
observance  of  such  matters  as  the  cleanliness, 
decorum  and  duties  of  the  personnel  of  the 
theatre,  it  should  be  born  in  mind  that  upon 
these  seemingly  unimportant  details  depends  the 
tone  of  the  house  and  that  ultimately  they  de- 
termine the  class  into  which  the  theatre  must 
inevitably  fall. 

The  Manager 

Assuming  that  the  theatre  is  fairly  well  lo- 
cated, is  in  reasonably  good  physical  condi- 
tion, and  that  the  bookings  are  "fair"  or  bet- 
ter, the  degree  of  success  or  failure  which  the 
institution  achieves  will  depend  largely  upon  the 
ability,  personality,  initiative  and  resourceful- 
ness of  its  manager. 

Here  is  a  place  where  a  "penny  wise  and 
pound  foolish"  policy  is  extremely  ill-advised; 
it  is  rarely  the  case  that  a  few  dollars  a  week 
will  not  cover  the  difference  between  the  salary 
of  a  real  manager,  with  a  reputation  for  suc- 
cesses, and  that  of  one  who  does  not  possess 
either  that  reputation  or  the  qualifications  es- 
sential to  achieving  it. 


117 


The  manager  will  have  many  problems  to 
meet  and  solve,  and  the  ideal  includes  some  of 
the  characteristics  of  the  lawyer,  diplomat, 
shrewd  merchant,  aggressive  advertiser,  wise 
executive,  "good  mixer"  and  gentleman.  His 
mental  equipment  must  be  such  as  will  enable 
him  to  cope  promptly  and  intelligently  with 
the   emergencies   which  are   constantly   arising. 

First.  He  will  meet  many  of  the  patrons,  com- 
ing into  contact  with  them  during  their  visits 
to  the  theatre,  and  they  will,  to  a  considerable 
extent,  judge  the  house  by  its  manager.  He 
must  be  a  gentleman  in  every  sense  of  the 
word;  the  type  of  man  who  can  and  will  make 
the  clientele  of  the  theatre  feel  "at  home"  there 
and  who  yet  will  not  step  over  the  faint  line 
which  separates  hospitality  and  friendliness 
from  effusiveness  and  fulsome  over-cordiality. 
His  moral  conduct  must  be  above  reproach 
— this  goes  without  saying;  for  nothing  will  so 
quickly  establish  a  theatre  in  a  bad  light  with 
the  better  class  of  the  public  as  gossip  about 
the  conduct  of  its  manager;  such  as,  constant 
visits  to  a  near-by  cafe,  the  late-hour  cafe  habit 
and  association  with  people  of  questionable  re- 
pute. 

118 


Second.  He  must  be  able  to  impress  upon  his 
staff  the  all-important  point  that  unfailing,  in- 
variable courtesy  to  every  patron,  to  fellow-em- 
ployees, and  to  the  artist,  is  essential  to  obtain- 
ing and  retaining  employment  in  the  theatre. 
It  is  vital  that  he  impress  this  upon  his  staff 
by  setting  the  example,  as  well  as  by  instruct- 
ing them  in  the  matter.  He  must  be  just  and 
fair  in  distributing  the  work  to  be  done,  and, 
as  in  every  other  successful  business,  he  must 
put  all  his  subordinates  upon  the  same  plane  as 
to  promotions,  increases  in  salary,  etc.;  i.e., 
based  upon  general  efficiency  only. 

Third.  It  is  absolutely  essential  that  he  cul- 
tivate friendly  relations  with  the  press,  poli- 
ticians, city  officials,  civic  and  other  organiza- 
tions, women's  clubs,  business  concerns,  the 
clergy  and  the  public  and  private  school  heads 
of  the  city.  Any  of  these  may  prove  an  im- 
portant factor  in  the  success  or  failure  of  the 
theatre,  and  no  season  will  pass  in  which  their 
friendship,  having  been  cultivated  and  secured, 
will  not  prove  of  immense  value  to  the  business. 
It  is  desirable  that  the  manager  be  himself  a 
member  of  some  of  the  better  fraternal  and 
civic  organizations,  though  this  is  not  absolutely 
essential. 

119 


Fourth.  His  relationship  with  the  artists  must 
be  marked  by  friendly  courtesy;  he  should  make 
it  an  invariable  rule  to  meet  the  acts  as  soon  as 
possible  after  their  arrival  at  the  theatre;  should 
inquire  if  their  needs  as  to  properties,  etc.,  have 
been  adequately  cared  for,  and  should  exert 
himself  to  impress  the  artists  with  the  manage- 
ment's desire  to  do  all  it  consistently  can  to 
make  the  engagement  pleasant  and  profitable 
for  all  concerned.  It  goes  without  saying  that 
doing  this  need  not  involve  loss  of  dignity  or 
undue  familiarity  with  any  of  the  artists.  Very 
little  time  and  effort  are  required  of  the  man- 
ager to  do  this,  and  the  result  will  mark  the 
difference  between  a  theatre  for  which  the  art- 
ists are  glad  to  do  their  best  and  one  in  which 
they  merely  go  through  the  performances  neces- 
sary to  earn  their  salary.  No  investment  of  a 
little  thought  and  care  will  return  greater  pro- 
portionate dividends  than  that  put  out  in  this 
direction. 

Fifth.  The  importance  of  the  manager's  re- 
port on  shows  is  often  not  realized,  with  the  re- 
sult that  the  proper  information  does  not  reach 
the  booker  concerning  how  the  shows  he  is  fur- 
nishing a  theatre  are  pleasing  its  audiences.  This 
is  a  point  upon  which  it  is  essential  that  there 

120 


be  the  fullest  co-operation  between  manager 
and  booker,  regardless  of  whether  the  theatre 
being  booked  is  one  of  a  chain  or  under  inde- 
pendent ownership. 

In  the  first  place,  the  report  should  be  ren- 
dered promptly  after  the  manager  has  wit- 
nessed the  two  opening  performances  of  each 
bill.  The  report  should  not  be  based  upon 
the  opening  matinee  only,  but  should  invariably 
be  the  result  of  observation  of  the  first  two 
performances  at  least.  Most  booking  offices 
and  bookers  provide  the  manager  with  a  form 
upon  which  to  make  these  reports,  and  in  this 
case  the  manager  has  but  to  follow  the  form. 
Almost  invariably,  if  objectionable  matter  or 
business  has  had  to  be  eliminated  from  an  act, 
the  booker  would  like  to  know  it. 

The  manager's  report  should  be  made  abso- 
lutely without  prejudice,  should  be  free  of  any 
influence  of  personal  feeling,  and  should  be 
based  upon  his  judgment  as  to  the  manner  in 
which  the  act  has  been  received  by  the  au- 
dience. A  report,  free  from  bias,  and  made 
in  an  absolutely  impartial  manner  and  with  a 
conscientious  effort  truthfully  to  record  the 
degree  of  favor  with  which  each  act  was  re- 
ceived by  THE  AUDIENCE  is  an  extremely 
valuable  thing  for  the  booker;   it  serves  as   a 

121 


guide  to  his  further  hooking  of  the  act  for 
other  houses,  as  well  as  an  index  of  what  types 
of  act  he  should  book  for  maximum  results  with 
certain  audiences.  The  manager's  personal  likes 
and  dislikes  should  ne^^r^  under  any  cir- 
cumstances, influence  his  report.  It  must  be 
borne  in  mind  that  each  theatre  in  which  an  act 
plays  is  rendering  a  report  thereon,  and 
that  though  the  act  may  be  a  "hit"  in 
thirty-five  towns  out  of  forty,  in  the  other 
five  it  may  earn  only  a  "fair"  or  even 
a  "poor"  report;  it  is  the  honest  report,  in- 
fluenced neither  by  the  previous  record  nor  by 
the  general  reputation  of  the  act,  which  indi- 
cates to  the  booker  what  the  actual  conditions 
are  and  enables  him  to  judge  intelligently  the 
needs  of  each  theatre.  Further,  it  is  often  an 
indication  to  him  that  something  is  going  wrong 
with  an  act,  and  it  may  be  that  through  its 
agent  or  some  other  source  the  booker  can 
straighten  things  out,  and  restore  the  act  to  its 
previous  and  more  desirable  standard. 

It  is  often  observed  that  where  a  manager 
books  his  own  show,  his  report  thereupon  is 
ALWAYS  good;  now,  though  this  may  fool 
some  other  manager  into  booking  an  inferior 
act,  it  does  not  mislead  him  a  second  time,  and 
it   establishes   for   the   untruthful   manager   an 

122 


extremely  unenviable  record  in  the  booking 
office.  It  is  true  that  no  booker,  or  manager 
booking  his  own  shows,  invariably  picks  win- 
ners; it  is  a  rule  without  exception  that  now 
and  then,  with  greater  or  less  frequency,  poor 
acts  are  booked  by  the  wisest  of  them;  the  hon- 
est report  recognizes  this  fact  and  faces  it  fear- 
lessly; the  dishonest  one  seeks  to  cover  it  up 
and  ultimately  causes  a  loss  of  confidence  in 
the  maker. 

There  are  so  many  reasons  justifying  the 
TRUTHFUL  report,  based  solely  upon  the  re- 
ception given  an  act  by  the  audience,  that 
these  few  remarks  on  the  subject  are  worthy 
of  careful  and  thoughtful  consideration  by  the 
manager  who  desires  not  only  to  succeed  in  his 
individual  efforts  but  also  to  gain  the  friend- 
ship and  confidence  of  his  booking  connection. 

Sixth.  The  manager's  office  hours  should  be 
established  ones,  and  faithfully  observed  by 
him.  It  should  be  known  about  the  theatre 
that  he  will  appear  at  a  certain  time  in 
the  morning  and  that  he  is  accessible  in  his 
office  or  elsewhere  in  the  theatre  from  that  hour 
until  such  other  time  as  is  established.  There 
are  many  people  in  the  course  of  the  day  who 
have    legitimate    affairs    to    conduct    with    him 

123 


which  should  not  be  left  to  subordinates,  and  a 
business  so  important  as  that  of  a  theatre  needs 
and  should  have  no  less  regular  attention  than 
that  of  a  bank  or  other  commercial  institution. 

In  the  writer's  travels,  and  during  many  hun- 
dreds of  visits  to  and  inspections  of  theatres, 
he  has  frequently  found  it  the  custom  for  a 
manager  to  come  to  the  theatre  about  noon,  or 
even  later.  It  is  suggested  that  this  is  very 
late  for  attention  to  be  given  to  the  answering 
of  mail,  responses  to  important  telegrams  that 
have  perhaps  arrived  during  the  early  morning 
hours,  and  for  the  many  other  matters  that  in 
commercial  lines  are  given  early  consideration. 
It  is  a  fact  that  this  point  of  tardiness  in  get- 
ting down  in  the  morning  has  lost  for  many  a 
promising  manager  not  only  the  recognition  that 
otherwise  good  service  might  command,  but  also 
the  confidence  of  his  employers  and,  finally, 
his  position. 

No  one  knows  better  than  the  author  that 
the  hours  are  long;  but  that  is  an  unchangeable 
condition,  due  to  the  very  nature  of  the  busi- 
ness, and  of  which  the  manager  should  either 
cheerfully  take  cognizance  or  get  out  of  the 
game. 

The  example  set  the  staff  of  promptness  upon 
the  manager's  part  will  be  valuable;  a  generally 

124 


increased  efficiency  will  be  noted  in  its  work, 
and  the  business  associations  of  the  theatre 
will  be  much  more  pleasantly  and  profitably  con- 
ducted if  merchants  and  others  can  find  the 
manager  in  his  office  during  the  hours  in  which 
all  other  business  institutions  customarily  trans- 
act their  affairs. 

Seventh.  It  is  essential  that  the  manager  visit 
every  part  of  the  theatre  at  least  once  daily, 
making  a  thorough  inspection;  that  he  make 
it  a  point  to  be  in  and  around  the  theatre  dur- 
ing every  performance  and  while  the  audiences 
are  entering  and  leaving.  If  the  staff  does  not 
include  a  capable  superintendent,  the  manager 
should  make  it  a  point  to  visit  balconies  diu'- 
ing  performances;  if  a  superintendent  is  em- 
ployed, this  duty  should  devolve  upon  him. 
Frequently  the  balcony  is  permitted  to  run 
itself,  with  the  result  that  employees  in  this 
and  other  seldom-visited  portions  of  the  house 
are  prone  to  grow  careless;  this  is  in  no  small 
measure  responsible  for  the  ill-repute  and  gen- 
eral unpopularity  of  many  balconies.  Bear  in 
mind  that  empty  seats  in  a  balcony  return  no 
profits,  whereas,  if  those  whose  purse  prompts 
them  to  patronize  this  portion  of  the  theatre 
are  intelligently  handled,  it  will  encourage  oth- 

126 


ers  to  come,  and  thus  the  halcony  may  be  made 
one  of  the  best  paying  sections  of  the  theatre. 
It  costs  nothing  to  do  this,  and  it  will  mean 
much  in  the  way  of  increased  business  on  the 
season's  operation. 

Eighth.  Tardiness  in  making  reports,  bank- 
ing money  or  paying  bills  should  not  be  tol- 
erated. Perhaps  more  than  any  other  busi- 
ness, the  theatre  is  in  a  position  to  clear  its 
financial  records  daily;  that  is,  to  know  just  how 
much  business  has  been  done,  what  the  pros- 
pects are  for  the  balance  of  the  week  or  period 
of  the  play,  and  there  should  be  no  excuse  ac- 
cepted for  slovenly  habits  with  respect  to  these 
matters.  A  manager  should  be  bonded  in  a 
surety  company,  for  his  own  as  well  as  the 
proprietor's  protection. 

Ninth.  The  manager  should  be  very  alert  to 
the  publicity  possibilities  of  each  show ;  he  should 
be  an  aggressive  but  intelligent  advertiser,  bear- 
ing in  mind  that  it  does  not  profit  the  enter- 
prise to  spend  two  dollars  on  a  special  stunt 
for  every  dollar  it  is  likely  to  bring  into  the 
house.  An  enormous  "flash"  one  week,  not  fol- 
lowed by  something  equally  spectacular  the  en- 
suing week,  may  result  in  a  slump  which  will 
more  than  make  up  for  the  temporary  increase 

126 


resulting  from  the  "flash."  There  are  times, 
however,  when  the  "flash"  may  be  profitably  re- 
sorted to  for  general  purposes,  such  as  re- 
aAvakening  interest  that  has  lagged,  reviving 
business  in  the  face  of  unusually  strong  opposi- 
tion, etc. 

Tenth.  The  manager  should  not  be  made  to 
feel  that  he  is  nothing  more  than  a  sort  of  su- 
perior janitor.  He  should  be  given  responsi- 
bilities, and  if  he  is  not  capable  of  handling 
them  and  of  meeting  such  situations  as  may 
arise,  then  he  is  not  competent  to  manage  a 
theatre.  Save  in  an  advisory  way,  he  should 
not  be  interfered  with  in  his  choice  and  dis- 
cipline of  employees;  if  he  cannot  govern  his 
actions  wisely  in  this  matter,  it  is  another  in- 
dication of  incompetency.  His  employees  must 
feel  that  he  is  the  final  court  of  appeal,  for 
otherwise  they  must  not  be  expected  to  comply 
fully  with  his  instructions  and  to  co-operate  to 
the  necessary  extent  in  carrying  out  the  poli- 
cies and  practices  of  the  theatre. 

Eleventh.  The  manager  should  guard  care- 
fully against  getting  into  a  rut;  it  is  often  the 
case  that  he  does  this  when  things  are  moving 
along  smoothly,  and  gradually  the  entire  organ- 

127 


ization,  including  the  management,  slumps.  The 
successful  management  of  a  theatre  requires  that 
the  individual  doing  it  be  "on  his  toes"  all  the 
time.  He  should  forget  there  is  such  a  thing  as 
opposition,  and  never  knock.  The  world  hates 
a  knocker  and  knocking  re-acts  in  the  other 
fellow's  favor. 

Twelfth.  It  is  a  peculiar  fact  that  to  the  lay 
mind  the  theatrical  manager  is  invested  with 
a  sort  of  glamor;  he  is  likely  to  be  made  much 
of  by  those  looking  for  favors  of  one  sort  or 
another,  or  by  stage-struck  girls  and  idle  women. 
He  should  guard  against  becoming  conceited, 
haughty  and  arrogant  through  these  things;  a 
condition  quite  possible,  as  the  experience  of 
large  and  small  circuits  have  proved  time  and 
time  again. 

Thirteenth.  It  goes  without  saying  that  his 
personal  bills,  accounts  and  business  obliga- 
tions should  be  promptly  and  honorably  settled; 
that  he  must  be  temperate  in  his  habits  and  that 
his  private  life  must  reflect  credit  upon  the 
theatre  which  he  represents. 

In  conclusion,  it  may  be  said  that  there  are 
not  now  and  never  have  been  enough  real  man- 
agers to  go  around.     It  is  the  experience  of  the 

128 


writer  that  those  who  have  proved  exceptionally 
competent  are  quickly  recognized  and  rapidly 
offered  promotion  to  larger  theatres  and  greater 
responsibilities.  But  capable  managers  are  be- 
ing made,  and  each  proprietor  can  help  to  make 
more  of  them  by  exerting  his  influence,  so  far 
as  is  possible,  toward  understanding  and  put- 
ting into  practice  the  rules  of  conduct  and  per- 
formance which  distinguish  the  thorough-going 
and  successful  manager. 

The  Treasurer  and  Ticket- Seller 

The  box-ofRce  is  the  heart  of  the  business.  If 
it  does  not  function  properly  the  enterprise  is 
doomed,  for  it  will  avail  nothing  if  the  theatre 
does  a  big  business  but  the  money  fails  to  get 
into  the  bank;  it  will  profit  little  indeed  if  the 
efforts  of  the  rest  of  the  staff  are  discounted 
or  put  at  naught  by  improper  handling  of  the 
public  at  this  important  point.  Take  notice 
that  every  patron  of  the  house  comes  to  the  box- 
office  before  entering  the  theatre.  Too  much 
careful  thought  and  attention  cannot  be  devoted 
to  this  part  of  the  theatre. 

Too  often  a  theatre  is  built  without  proper 
attention  to  the  requirements  of  the  box-office. 
Frequently   the   architect   provides   a  beautiful 

129 


and  tasteful  front  for  it,  but  does  not  allow 
enough  room  for  efficient  work  to  be  done  be- 
hind that  front.  It  is  often  illy-lighted  and 
almost  without  ventilation.  It  is  frequently 
so  cramped  for  space  that  the  ticket-seller's 
very  elbows  are  crowded  to  his  sides.  These 
conditions  should  not  exist. 

The  treasurer  comes  into  direct  contact  with 
every  patron  of  the  house;  it  is  to  him  that  the 
clients  look  for  courteous  and  attentive  service; 
it  is  the  treasurer  who,  to  many,  is  the  theatre. 
Polished,  genial,  and  beyond  all  smilingly  court- 
eous under  any  circumstances,  the  ideal  treas- 
urer is  a  quick  thinker,  a  quiet-voiced  and  gen- 
tlemanly salesman  who  can  dispose  not  only  of 
the  desirable  seats,  but  the  less  desirable  ones 
as  well,  and  do  this  without  deceiving  the  pa- 
tron. 

The  public  is  often  crochety  and  unfair.  Fre- 
quently it  is  inclined  to  resent  being  seated  in 
anything  but  the  "sixth  row  center  on  the  aisle," 
and  it  takes  much  patience,  diplomacy  and  tact 
at  the  ticket-window  to  overcome  this  unrea- 
sonableness. The  treasurer  who  cannot  retain 
his  poise  and  an  unfailing  smile  in  the  face  of 
an  impatient,  hurrying  line  is  not  fitted  for  the 
position. 

ISO 


One  person  is  inclined  to  stand  at  the  win- 
dow in  a  waiting  line  to  discuss  this  or  that 
with  reference  to  the  seats  offered;  another 
crowds  or  pushes  in  ahead  of  the  line  and  en- 
deavors to  secure  preferred  attention;  still  an- 
other is  inclined  to  dispute  the  price  of  the 
seats,  and  so  on  without  end;  but  the  wise  and 
able  treasurer  is  one  who  has  the  knack  of 
selling  his  line  rapidly,  quietly,  efficiently  and 
withal,  politely — a  smile  and  a  pleasant  "thank 
you"  concluding  each  transaction,  regardless 
of  the  attitude  of  the  patron.  A  treasurer 
should  make  absolutely  sure,  in  each  transac- 
tion, that  there  is  a  clear  understanding  on  the 
part  of  the  patron  as  to  which  particular  per- 
formance he  is  getting  tickets  for.  If  this  is  in- 
variably done,  many  disputes  will  be  avoided 
and  unpleasant  arguments  at  the  door  or  with 
ushers  prevented. 

Coupon-tickets  are  usually  printed  in  uni- 
form length,  though  some  ticket  printers'  stock 
varies  in  width  and  weight  of  card-board.  It 
is  advisable  to  get  cardboard  sufficiently  heavy 
so  that  the  imprint  will  not  show  on  the  back 
and  the  tickets  will  stand  well  in  the  rack. 

It  is  not  wise  to  select  various  shades  of  one 
color  for  tickets,  as  the  door-man  and  ushers 
are  likely  to  be  confused  thereby;  distinctly  con- 

131 


trasting  colors  should  be  used  to  differentiate 
location  and  price  of  seats.  Sufficient  racks 
should  be  provided  to  accommodate  the  current 
sale  and  reservations  for  one  or  two  weeks  in 
advance. 

Reel-tickets  are  more  readily  sold  from  reel 
standards  in  rolls  of  two  thousand  tickets;  these 
tickets  should  be  consecutively  numbered  and 
have  printed  in  plain  type  the  location  in  the 
theatre  for  which  they  are  intended. 

A  treasurer  should  cultivate  the  habit  of 
knowing  his  regular  patrons  by  name,  and  so 
addressing  them  as  they  come  to  the  window. 
Small  a  thing  as  this  is,  it  is  very  pleasing  to 
the  patron  and  is  of  material  aid  in  influencing 
his  friendship  for  the  house. 

There  are  no  circumstances  in  which  the  treas- 
urer should  dispute  with  the  patron;  it  is  a 
proved  fact  in  the  most  successful  theatres  in 
the  country  that  here,  at  the  very  heart  of  the 
theatre,  unfailing  and  patient  courtesy  and 
pleasantness  secure  almost  unbelievable  results 
in  the  friendship  of  the  general  public  toward 
the  house. 

The  telephone  service  in  the  box-office  merits 
the  closest  attention;  calls  must  be  promptly 
and  courteously  answered  regardless  of  condi- 
tions.    People  calling  to  reserve  seats  are  im- 

132 


patient  of  delays  and  resent  abrupt  answers 
when  they  do  secure  connection. 

Promises  made  in  the  box-office  must  be  ful- 
filled; the  rule  as  to  how  long  seats  will  be 
held  for  a  given  performance  should  be  posi- 
tive and  those  in  charge  instructed  that  clients 
telephoning  for  reservations  be  informed  that 
the  seats  will  be  held  until  a  certain  specified 
time  only.  This  time  limit  should  also  be  an- 
nounced by  a  box-office  sign.  Exceptions  may 
be  made  when  it  is  known  positively  that  the 
patron  is  dependable;  if,  in  such  a  case,  the 
promise  is  made  that  the  tickets  will  be  held  un- 
til called  for,  this  promise  should  be  kept  even 
if  it  involve  the  necessity  of  mailing  the  unused 
tickets  to  the  patron  the  next  day,  and  collect- 
ing for  them.  Persons  entertaining  guests  are 
frequently  late  in  reaching  the  theatre,  and  will 
be  justly  annoyed  if  the  promised  reservations 
are  not  held  for  them.  A  displeased  patron  is 
a  poor  advertisement. 

The  treasurer  should  understand  the  art  of 
"dressing"  the  house  on  off-nights,  that  is,  when 
business  is  not  capacity,  by  selling  alternate 
pairs  of  seats  so  that  when  the  performance 
commences  the  house  will  have  the  appearance 
of  being  full.  "Nothing  succeeds  like  success," 
and  the  report  of  those  who  see  the  show  that 


the  house  was  full  will  have  a  favorable  in- 
fluence toward  bringing  others  to  witness  sub- 
sequent performances. 

The  less  desirable  seats  in  the  high-priced 
section  should  be  disposed  of  before  all  the 
choicer  ones  are  gone,  for  certain  patrons  who 
come  late  will  demand  the  best  seats  or  decline 
to  purchase.  A  few  good  pairs  should  be  held 
until  the  last  minute  to  cover  any  adjustments 
which  must  be  made,  or  to  accommodate  a  late 
comer  of  whom,  for  some  adequate  reason,  it 
may  be  desirable  to  take  specially  good  care. 

The  clientele  should  be  sufficiently  well  known 
to  the  treasurer  to  enable  him  to  avoid  seating 
persons  of  questionable  repute  next  to  those  of 
high  social  standing;  he  should  be  careful  not 
to  seat  the  mechanic  in  overalls,  who  now  and 
then  strolls  up  to  the  window,  in  a  section 
where  he  may  be  conspicuous  to  his  own  dis- 
comfort or  to  the  displeasure  of  those  about 
him.  A  drunken  man  or  woman  should  be  ab- 
solutely refused  a  ticket.  This  individual  falls 
asleep  during  the  show  and  snores;  or  he  in- 
sists on  talking  to  the  persons  seated  next  to 
him,  or  he  becomes  ill.  In  any  event  the  chances 
are  a  hundred  to  one  that  he  will  spoil  all  or 
a  part  of  the  show  for  all  or  a  part  of  the 
audience. 

134 


The  ticket-seller  should  endeavor,  so  far  as 
is  consistent  with  the  conditions,  to  dispose  of 
the  higher-priced  seats  first;  often  the  sale  for 
one  performance  may  in  this  manner  be  in- 
creased in  gross  revenue  more  than  the  amount 
of  his  salary  for  an  entire  week. 

The  same  courteous  attention  should  be  ac- 
corded the  purchaser  of  balcony  seats  as  of  a 
box.  The  public  is  not  compelled  to  come  to 
the  theatre;  attending  shows  is  largely  a  matter 
of  habit,  and  it  doesn't  require  many  rebuffs 
at  the  box-office  to  divorce  a  person  entirely 
from  the  habit  or  desire  of  attending  a  par- 
ticular theatre.  An  unpopular  theatre  is  a  con- 
stant incentive  to  someone  to  build  an  opposition 
house  that  will  be  popular. 

The  ticket-seller  should  serve  those  in  line  in 
their  proper  order,  and  never  sell  out  of  his 
turn  the  person  who  reaches  over  or  pushes  in 
ahead  of  those  in  front  of  him.  A  quiet  re- 
quest to  such  person  to  "Please  take  proper 
place  in  the  line,"  without  shouting  or 
rude  command,  should  be  the  practice  in  such 
matters.  If  the  line  is  at  all  extended,  a  spe- 
cial policeman  should  be  on  duty  to  keep  per- 
sons in  their  proper  places,  prevent  crowding, 
pushing  and  disorder.  He  should  ne^tr  push 
people  about,  shout  at  them,  or  act  as  if  he  were 

13B 


driving  cattle.  This  sort  of  thing  will  be  remem- 
bered and  resented. 

A  box-office  convenience  worthy  of  installa- 
tion is  a  system  of  registration  for  physicians 
and  others  who  may  be  called  during  the  show. 
A  card,  on  hand  in  the  box-office,  is  given  them 
to  fill  out  and  is  then  handed  to  the  usher.  The 
usher  marks  in  the  seat-number  and  returns  the 
card  to  the  box-office.  If  a  call  comes  in,  the 
persons  wanted  can  be  quickly  and  quietly  lo- 
cated. Even  where  seats  are  not  reserved,  it 
is  wise  to  have  them  numbered  and  lettered 
for  such  purposes. 

That  the  treasurer  should  be  absolutely  hon- 
est, bonded  in  a  surety  company,  prompt  in 
banking  his  money  and  making  his  reports,  is 
understood.  It  should  be  an  inviolable  rule 
that  he  do  not  have  visitors  in  the  box-office, 
nor  social  conversations  at  the  window  thereof. 
Smoking  in  the  box-office  should  be  positively 
forbidden,  likewise  the  chewing  of  gum. 

The  general  appearance  of  all  box-office  em- 
ployees is  important;  clean  shaved,  clean  hands, 
well-kept  nails,  clean  linen,  are  essential.  An 
offensive  or  foul  breath  must  be  remedied.  At 
night  performances  the  ticket-seller  should  wear 
dinner  dress,  and  at  no  time  should  he  work  in 
shirt-sleeves.     Heat  comes  with  the  summer,  it 

136 


is  true,  but  this  does  not  justify  a  coatless 
ticket-seller.  Light-weight  alpaca,  linen  and 
similar  clothes  are  available  then. 

If  the  ticket-seller  is  a  woman,  she  should  be 
attractive  but  not  too  pretty,  unless  she  is  one 
of  those  rare  exceptions  who  does  not  unduly 
value  her  good  looks.  Peroxide  blondes  have 
no  use  for  other  women,  and  too  much  attrac- 
tion for  young  men. 

The  box-office  should  be  equipped  with  a 
standard  safe,  for  the  exclusive  use  of  the  treas- 
urer, and  HE  ONLY^  with  the  exception  of 
the  manager,  should  possess  the  combination; 
the  responsibility  for  the  contents  of  the  safe 
should  be  absolutely  clear  at  all  times. 
A  further  reason  for  equipping  the  box-office 
with  a  suitable  safe  is  found  in  the  fact  that  in 
case  of  shortages  the  bonding  company  may 
take  refuge  in  the  fact  that  the  treasurer  was 
not  equipped  to  protect  his  funds  properly. 
It  is  important  that  the  line  of  responsibility 
for  the  money  be  clearly  and  definitely  es- 
tablished at  all  times,  and  every  precaution  on 
this  point  should  be  taken. 

There  should  be  a  change  machine  provided 
which  makes  change  accurately  and  saves  time 
in  handling  pennies. 

A  niggardly  and  insufficient  salary  has  been 

137 


known  to  tempt  men  to  dishonesty.  The  treas- 
urer of  a  theatre  constantly  handles  compara- 
tively large  sums  of  money,  his  position  is  one 
of  trust  and  responsibility,  and  he  should  be 
adequately  paid.  In  this  connection,  it  is  a  pro- 
pos  that  brief  mention  be  made  of  some  of  the 
schemes  employed  by  dishonest  treasurers  and 
which  have  cost  proprietors  thousands  of  dol- 
lars. 

During  a  recent  season,  in  a  big-time  theatre, 
through  collusion  between  the  ticket-seller  and 
door-man,  the  following  scheme  resulted  in  the 
theft  of  over  seven  thousand  dollars:  The 
house  sold  reel-tickets  for  unreserved  seats  on 
the  main  floor;  the  door-man,  instead  of 
dropping  these  tickets  into  the  box,  as  lifted, 
would  hold  out  from  thirty  to  sixty  on  each  per- 
formance. At  some  time  during  the  perform- 
ance he  would  pass  these  back  to  the  treasurer, 
who  would  re-sell  them  and  appropriate  the 
proceeds,  which  were  later  divided  between  them. 
A  variation  of  this  plan  is  for  the  door-man 
to  put  the  tickets  in  some  place  where  the 
treasurer  can  get  them,  as,  for  instance,  in  a 
toilet,  or  smoking  room,  or  behind  a  partition 
or  some  other  semi-concealed  spot.  The  treas- 
urer then  leaves  the  box-office  "for  a  moment," 
gets  and  re-sells  them.     This  is  an  old,  proved, 

138 


and  very  popular  plan  for  dishonest  employees. 
It  illustrates  the  necessity  for  two  strictly  en- 
forced rules:  (1)  The  door-7nan  must  never, 
under  any  circumstances,  approach  the  hox- 
office  or  converse  with  the  treasurer  during  or 
after  a  performance ,  and  he  must  deposit  tick- 
ets, immediately  after  lifting,  in  a  locked  ticket 
box  to  which  the  manager  has  the  only  key. 
(2)  If  any  adjustments  are  to  he  made,  the 
patron  himself,  the  manager  or  the  superintend- 
ent must  make  them. 

Through  collusion  of  usher,  door-man  and 
treasurer  it  is  possible,  even  easy,  to  misuse 
coupon-tickets  when  performances  are  not  being 
played  to  capacity. 

If  any  other  than  the  manager,  personally , 
issues  and  signs  passes,  it  is  possible  for  the 
treasurer  and  door-man  to  make  use  of  them 
dishonestly  and  defraud  the  theatre  of  many 
dollars.  Alteration  of  passes  from  "two"  to 
"three"  or  "four"  should  be  guarded  against 
by  a  rigid  check  of  all  that  are  honored. 

The  practice  of  "short-changing,"  though 
nearly  obsolete,  still  offers  many  chances  for  the 
dishonest  box-office  employee.  "Walkaway," 
meaning  change  left  on  the  counter  by  the  pa- 
tron, should  invariably  be  restored  to  him  if  he 
can  be  called  back,  or  located. 

139 


The  safe  plan,  and  the  one  that  is  fairest  to 
all  concerned,  is  to  insist  that  the  door-man 
deposit  all  tickets  and  passes  lifted,  in  the  box, 
just  as  rapidly  as  they  are  received;  that  the 
treasurer  have  his  report  ready  by  the  time  the 
performance  is  over;  that  the  manager  person- 
ally, or  by  trusted  aide,  count  the  ticket-box 
AFTER  EACH  PERFORMANCE ;  that  care  be  taken  in 
the  case  of  reel  or  strip-tickets  to  see  that  the 
treasurer  does  not  use  a  counterfeit  roll,  and  to 
exercise  a  keen  and  ever-watchful  supervision 
over  this  department. 

A  sufficient  change  fund  should  be  allowed 
the  treasurer;  the  box-office  should  be  open  con- 
tinuously from  9  a.  m.  to  10  p.  m.  There 
should  NEVER  be  a  time  between  these  hours 
when  there  is  not  someone  in  the  box-office  pre- 
pared to  sell  tickets,  answer  questions  or  the 
telephone. 

In  this  connection,  it  is  well  to  note  that  the 
legal  status  of  the  ticket  differs  with  the  states. 
In  some  localities  a  ticket  is  regarded  as  a  license 
and  in  others  it  is  a  lease.  A  lease  may  not  be 
broken  without  redress.  A  license  may  be  re- 
voked at  any  time  by  reimbursing  the  holder 
of  the  license.  It  is  best  to  have  the  tickets 
read  to  the  effect  that  "This  ticket  is  a  license, 

140 


terminating    at    the    pleasure    of    the    manage- 
ment." 

The  Superintendent 

This  employee  has  been  found  necessary  to 
the  proper  and  profitable  operation  of  the  larger 
theatres  in  the  larger  cities. 

In  a  general  way  his  duties,  under  the  su- 
pervision and  direction  of  the  manager,  are  to 
see  that  the  theatre  is  kept  clean— front  and 
back.  He  should  see  to  it  that  heating  and  ven- 
tilation are  properly  attended  to,  that  burnt-out 
or  missing  lamps  are  replaced,  that  torn  car- 
pets, broken  seats,  squeaky  door  hinges,  bad- 
order  toilets,  defective  or  broken  fire-exits  and 
such  matters  are  given  proper  attention;  and, 
by  systematically  and  unostentatiously  visiting 
each  floor  of  the  theatre  and  covering  all  parts 
of  the  front  of  the  house  during  performances, 
see  that  order  and  quiet  are  maintained. 

Cleaners,  porters,  janitors,  etc.,  should  work 
under  his  direction,  and  he  should  be  held  en- 
tirely responsible  for  the  cleanliness  of  the  thea- 
tre, lobby,  sidewalks  and  exit  spaces.  He  should 
be  careful  to  see  that  the  fire-prevention  and 
extinguishing  apparatus  of  the  theatre  is  main- 
tained in  proper  condition;  chemical  extinguish- 
ers re-charged  at  necessary  intervals;  hose  lines 

141 


kept  in  thorough  working  order,  etc.  He  should 
see  that  the  motors  on  ventilating  equipment  are 
oiled  at  frequent  intervals,  that  ceiling  and 
other  fans  are  cleaned  and  oiled;  in  a  word, 
that  the  entire  physical  equipment  of  the  theatre, 
including  chairs,  furniture,  etc.,  is  suitably  cared 
for. 

He  should  make  a  careful  inspection  of  the 
entire  front  of  the  house  prior  to  the  opening 
of  doors  at  each  and  every  performance.  He 
should  call  and  rehearse  a  fire  drill  with  the 
ushers,  door-men  and  porters  weekly. 

He  should  look  to  the  use  of  cleaning  ma- 
terials, such  as  brooms,  mops,  brass  polish,  etc., 
and  see  that  economy  is  practiced  by  checking 
in  and  checking  out  all  utensils  and  materials 
in  this  department;  he  should  guard  against 
the  waste  of  electric  light  during  cleaning  hours, 
and  in  renewing  bin*nt-out  lamps,  etc.,  at  the  re- 
quest of  employees,  he  should  require  that  the 
burnt-out  lamps  be  turned  in  in  exchange  for 
the  new  ones. 

He  should  have  had  experience  in  handling 
crowds  and  know  how  to  do  so  quietly  and  with 
discretion;  to  adjust  little  errors  and  arguments 
in  a  diplomatic  and  pleasing  manner.  It  is  not 
intended  that  he  shall  assume  any  of  the  man- 
ager's duties,  but  he  should  be  an  understvidy 

142 


to  the  manager,  and  his  chief  aide. 

In  the  matter  of  handling  a  patron  whose 
conduct  is  unbecoming  or  offensive,  it  is  the 
best  practice  to  persuade  the  person  to  come 
out  into  the  lobby,  or  into  the  manager's  office, 
to  discuss  the  difficulty,  thus  often  avoiding  the 
confusion  of  a  noisy  ejectment,  and  perhaps 
a  damage  suit.  Disorderly  individuals  can  often 
be  persuaded  to  come  out  to  talk  matters  over, 
and  then  the  question  of  re-admitting  them  can 
be  settled  without  disturbing  the  audience;  if 
the  offender  is  never  to  be  permitted  to  enter 
the  theatre  again,  the  ticket-seller  and  door- 
man should  be  advised  of  the  fact  then  and 
there. 

The  superintendent  should  be  punctual  in  re- 
porting for  duty,  thus  not  only  setting  a  good 
example,  but  enabling  him  to  see  that  every- 
one under  his  supervision  is  also  at  work  on 
time.  He  should  be  uniformed  during  per- 
formances, and  prior  to  the  opening  of  the 
doors,  should  inspect  the  ushers  and  all  other 
attaches  of  the  front  of  the  theatre,  except  those 
in  the  box-office.  He  should  see  that  those 
under  his  charge  are  at  their  stations  at  the 
proper  time,  are  uniformed,  have  clean  hands 
and  nails,  shined  shoes,  etc. 

It  will  be  seen  that  he  must  be  something  of 

14-3 


a  diplomat,  so  in  choosing  an  employee  for  this 
position,  look  well  into  his  record  and  select  an 
intelligent,  high-class  man — ambitious,  energetic 
and  clean-cut,  who  is  real  timber  for  future  use 
in  a  higher  position. 

The  Door-Man 

If  a  theatre  is  to  enjoy  the  fullest  measure 
of  popularity,  this  is  a  position  in  which  a  con- 
servative, well-balanced,  dignified  yet  friendly 
individual  is  needed. 

In  general  practice,  it  is  desirable  that  a  door- 
man be  from  thirty  to  forty  years  of  age,  if 
possible  of  commanding  stature,  and  always 
well-groomed,  cleanly  shaved,  clean  hands  and 
nails,  polished  shoes  and  well-brushed  uniform. 
He  should  be  careful  that  his  breath  is  not  mal- 
odorous. He  should  neatr  shout  directions  at 
patrons.  Tickets  should  be  quickly  lifted,  care- 
fully scrutinized  to  see  that  they  are  for  the  cur- 
rent performance,  patrons  quietly  but  clearly  di- 
rected to  the  correct  aisle  (if  this  is  not  to  be 
done  by  the  head  usher  or  superintendent),  and 
the  stubs  or  tickets  deposited  in  the  ticket-box 

IMMEDIATELY. 

The  door-man  should  be  positively  forbidden 
to  converse,  or  have  transactions  of  any  kind, 

144 


with  the  treasurer  or  ticket-seller  immediately 
hefore  or  during  the  entrance  of  patrons,  and  to 
hold  any  long  or  unnecessary  conversations  with 
either  friends  or  patrons  while  on  duty. 

The  door-man  should  be  commissioned  as  a 
"special  policeman"  if  possible,  and  should  be 
a  man  of  sufficient  discretion  to  know  when  and 
how  to  use  this  authority.  He  should  never 
permit  any  person  under  the  influence  of  liquor 
to  enter  the  theatre. 

He  should,  under  no  circumstances,  be  vested 
with  discretionary  power  in  the  matter  of  ad- 
mitting people  who  hold  no  ticket  or  pass.  It 
should  be  distinctly  impressed  upon  him  that 
e\t:ry  person  admitted  must  present  either  a 
ticket  or  a  pass.  Xor  should  he  use  the  "I'll  re- 
member you"  system  of  taking  care  of  pass-outs. 
He  should  be  provided  with  pass-out  checks,  give 
one  to  each  person  leaving  during  a  perform- 
ance who  intends  to  come  back  during  the  show, 
and  he  should  lift  this  check  when  the  patron 
re-enters. 

The  door-man  should  be  assigned  morning 
duties  around  the  theatre  and,  in  the  time  avail- 
able then,  may  save  the  salary  of  an  extra  em- 
ployee. 

A  refinement  of  this  position,  and  one  that 
should  ultimately  make  the  man  who  occupies 

146 


it  almost  invaluable  to  the  theatre,  is  his  learn- 
ing to  know  most  of  the  regular  patrons  by 
name,  and  to  address  them  pleasantly  by  it,  as 
they  hand  him  their  tickets.  In  the  handling 
of  children,  elderly  ladies,  infirm  persons  and 
so  on,  it  goes  without  saying  that  tact,  un- 
failing courtesy  and  never  ending  patience 
should  be  the  rule. 

On  account  of  its  importance,  the  author  re- 
peats the  injunction  that  the  door-man  be  care- 
fully trained  in  the  matter  of  being  sure,  at 
the  time  he  lifts  the  ticket,  that  it  is  for  the 
performance  then  being  given.  It  is  infinitely 
easier  and  more  pleasant  to  adjust  an  error  at 
this  time,  than  after  the  patron  has  been  seated 
at  the  wrong  performance.  Then  the  patron 
resents  being  called  from  his  seat,  and  fre- 
quently a  very  embarrassing  situation  is  created. 

The  Special  Policeman 

Though  it  is  not  the  imiversal  custom  for 
theatres  to  have  a  special  policeman  on  the  staff, 
it  is  required  by  the  ordinances  in  some  cities; 
in  others  it  has  been  found  a  necessary  position 
to  establish,  and  in  general  practice  it  is  desir- 
able to  have  a  capable  man  about  the  theatre 
during  performances,  who  is  vested  with  power 

146 


to  make  an  arrest  if  necessary,  or  who  has  legal 
authority  to  quell  disturbances. 

In  many  theatres  it  is  the  custom  to  secure 
a  commission  for  the  superintendent  or  door- 
man, which  saves  an  extra  salary — except  in 
such  cases  as  there  is  need  for  a  special  police- 
man to  serve  solely  as  such.  The  management 
w^ill,  of  course,  decide  what  the  conditions  re- 
quire in  this  matter;  but  if  a  special  policeman 
is  employed,  he  should  be  in  uniform,  familiar 
with  the  rules  of  the  police  department  and, 
preferably,  a  man  who  has  had  actual  service 
therein. 

This  officer  should  of  course  be  alert  and 
watchful,  stern  in  suppressing  any  disorder  or 
unbecoming  conduct  on  the  part  of  any  person 
in  any  part  of  the  theatre;  but  he  should  never 
resort  to  rough  tactics,  for  instance  in  effecting 
ejectment  of  a  gallery  patron;  for  unless  the 
circumstances  are  especially  aggravated,  this 
is  likely  to  bring  about  a  damage  suit.  The 
officer  should,  if  time  and  circumstances  per- 
mit, consult  with  the  manager  before  making 
an  ejectment,  for  sometimes  a  little  diplomatic 
talk  will  stop  the  trouble  when  an  attempt  at 
ejectment  will  precipitate  a  serious  fight  and 
absolutely  ruin  a  show,  perhaps  causing  a  panic. 

The  special  policeman  should  quietly  and  un- 

147 


ostentatiously  visit  every  portion  of  the  theatre 
several  times  during  each  show,  keeping  on  the 
move  from  part  to  part  of  the  auditorium,  bal- 
cony and  gallery  and  watching  the  lobby.  As 
he  passes  through  the  various  portions  of  the 
theatre  he  will  see  and  rectify  in  a  quiet  and 
polite  manner  many  little  things  which,  if  not 
checked  then,  may  lead  to  disagreeable  inci- 
dents later  on.  By  merely  standing  in  a  side 
aisle  near  the  offender,  silent  watchfulness  may 
have  the  desired  effect. 

While  the  gallery  is  usually  the  place  most 
likely  to  require  attention,  it  should  be  remem- 
bered that  intoxicated  men  get  by  the  ticket- 
seller  and  door-man,  and  when  seated  in  the 
warm  theatre  become  talkative  and  boisterous. 
The  time  to  catch  these  things  is,  of  course,  be- 
fore the  individual  gets  into  the  theatre;  for  a 
drunken  man,  if  discovered,  should  never  be 
permitted  to  enter. 

It  is  a  peculiar  fact  that  disturbances  always 
seem  to  start  just  at  a  moment  when  the  man- 
ager, superintendent  and  head  usher  are  en- 
gaged elsewhere,  and  the  alert  officer  should 
be  another  check  on  these  things. 

The  habit  of  many  officers,  standing  about 
gallery  or  other  entrances,  discussing  politics  or 
some  other  subject  with  a  door-man  or  outsider, 

148 


should  be  sternly  discouraged.  A  quiet,  de- 
termined, efficient  and  polite  man,  who  can  tell 
the  difference  between  a  gentleman  and  a  row- 
dy, and  will  use  discretion  and  judgment  in 
handling  both,  makes  the  ideal  officer. 

The  Ushers 

These  are  important  employees  and  too  much 
care  cannot  be  devoted  to  their  selection.  If 
boys  are  employed,  they  should  be  between  the 
ages  of  seventeen  and  twenty;  if  girls,  between 
twenty  and  twenty-eight.  Boys  should  not  be 
loafers  or  cigarette  fiends,  and  the  character 
of  the  girls  should  be  above  question.  The 
writer  has  often  found  it  possible  to  secure  a 
corps  of  young  married  women,  and  invariably 
these  have  proved  the  very  best  type  to  use  in 
this  position.  Boys  are  boys  and  inclined  to 
pranks  and  play  while  on  duty,  often  to  undue 
familiarity  with  patrons  and  other  short-com- 
ings in  handling  the  public.  Girls  working  for 
a  little  "pin  money"  do  not  need  the  position 
badly  enough,  as  a  rule,  to  take  good  care  of 
it,  while  the  young  married  women  are  fre- 
quently helping  a  husband  in  the  purchase  or 
outfitting  of  a  home,  or  some  such  matter.  In 
general,  they  want  the  work  for  the  money  there 

149 


is  in  it,  and  are  more  amenable  to  rules  and 
more  careful  in  observing  instructions. 

Ushers  should  be  carefully  and  thoroughly 
trained  in  their  duties;  after  a  few  weeks  in  one 
station  in  the  theatre  they  should  be  changed 
to  another  and  so  on  until  each  usher  is  qual- 
ified to  work  at  any  station  in  the  auditorium. 

Extreme  neatness  should  characterize  their 
appearance:  hair  neatly  dressed;  shoes  polished; 
stockings  free  from  holes  or  "runs"  about  the 
ankles.  They  should  never  chew  gum  while 
on  duty.  They  should  report  in  a  body  to  the 
superintendent  or  manager  at  least  ten  min- 
utes before  the  doors  are  due  to  open,  for  in- 
spection. If  boys  are  employed,  smoking, 
laughing  or  playing  on  duty  should  be  cause  for 
instant  dismissal.  There  should  be  a  standing 
rule  of  "I^O  TIPS." 

Here  are  a  few  of  the  essential  rules  which 
should  govern  them: 

1.  Under  any  and  all  circumstances  politeness 

MUST  govern  every  association  with  the 
patrons,  all  complaints  being  referred  to 
the  superintendent  or  manager. 

2.  There   must   be   no   smoking,   gum-chewing, 

playing,  etc.,  about  the  theatre;  nor  any 
conversation  between  ushers  while  a  per- 

160 


formance  is  on;  nor  should  ushers  seat 
themselves  during  performance  in  rear 
rows  next  to  patrons. 

3.  Hair  must   be  brushed   and   orderly;   hands 

and  nails  must  be  clean;  shoes  must  be 
polished;  uniforms  well  pressed  and  neatly 
kept;  and  an  erect  bearing  maintained  at 
all  times. 

4.  Every  transaction  with  a  patron  :must  be  ac- 

companied by  a  pleasant  smile  and  con- 
cluded with  a  "Thank  you." 

5.  All    uniforms    must    be    carefully    hung    on 

hangers  in  lockers  or  ushers'  room  after 
each  performance,  and  this  room  must  be 
at  all  times  kept  clean  and  tidy. 

6.  If  a  six-day  town,  ushers  should  never  enter 

the  theatre  or  hang  around  the   front  of 

same  on  Sundays. 
These  employees  should  be  given  clearly  to 
understand,  in  common  with  every  other  em- 
ployee of  the  house,  that  impudence,  imperti- 
nence or  discourtesy  to  a  patron  will  not 
be  condoned,  regardless  of  the  circumstances. 
It  is  not  intended  that  employees  shall  be  ser- 
vile or  lacking  in  spirit  and  pride,  but  that  they 
shall  realize  that  in  dealing  with  the  general 
public — whether  it  be  on  a  railroad  train,  in  a 
hotel,   telephone  office  or  other   public  institu- 

161 


tion — there  is  but  one  policy  which  has  proved 
unfailingly  profitable,  and  that  is  the  one 
which  makes  uniform  and  invariable  courtesy 

to  EVERY  PATRON,  under  ANY  AND  ALL  CIRCUM- 
STANCES, the  dominant  characteristic  of  the  busi- 
ness. 

Ushers  should  be  provided  with  small  elec- 
tric flashlights  for  use  in  seating  patrons  after 
the  curtain  has  risen  and  the  auditorium  is 
darkened.  These,  held  low,  guide  the  patron, 
sometimes  preventing  his  falling,  and  a  conse- 
quent lawsuit. 

Ushers  should  never  run  or  slide  down  aisles 
or  congregate  in  two's  and  three's  to  gossip. 
They  should  be  carefully  trained  to  read  their 
couj^ons  accurately,  and  to  know,  when  they 
start  out  with  a  patron,  just  where  they  are  go- 
ing, not  ushering  him  back  and  forth  or  up  and 
down  an  aisle.  Ushers  should  never  endeavor 
to  seat  two  parties  of  patrons  at  the  same 
time. 

If  ushers  handle  the  programs,  their  instruc- 
tions should  be  to  see  that  every  patron  receives 
one,  as  this  is  just  as  important  a  part  of  "ser- 
vice" as  seating  them  properly.  Soiled  or  used 
programs  should  never  be  distributed,  or  a  seat 
noisily  slammed  down. 

If  water  is  passed  by  the  ushers  during  per- 
ils 


formances,  as  is  not  infrequently  the  case,  a  time 
should  be  chosen  for  this  that  will  not  interfere 
with  the  act  then  on.  In  other  words,  this  should 
never  be  done  during  a  quiet  act.  And  when  it 
is  done,  every  precaution  should  be  taken  to  do  it 
quietly,  unobtrusively,  and  with  a  minimum  of 
disturbance  to  patrons  and  acts. 

Ushers  should  be  impressed  with  the  neces- 
sity of  conducting  themselves  in  the  dressing- 
room,  theatre,  and  in  their  dealings  with  the 
public  as  they  would  in  a  refined  home,  and 
there  should  never  be  a  general  exodus  of 
ushers  just  before  the  show  is  over.  They 
should  take  their  appointed  stations,  stand 
erect  and  "in  service"  until  the  last  patron  is 
out,  after  which  they  should  each  cover  their 
respective  section  of  the  theatre,  turn  up  each 
seat,  pick  up  any  lost  articles  and  turn  them 
in  to  the  box-office  or  superintendent;  and  not 
until  this  is  done,  are  they  "off  duty."  Turn- 
ing back  the  seats  will  often  discover  loose  or 
broken  ones,  and  will  also  facilitate  work  for 
the  cleaners. 

It  goes  without  saying  that  an  usher  should 
never  leave  his  post  of  duty  to  go  out  of  the 
theatre  or  back  stage  during  a  performance 
except  upon  specific  instructions  from  the  super- 
intendent or  manager. 

15S 


The  Night  Watchman 

A  sober,  reliable,  industrious  middle-aged 
man  should  be  employed,  to  report  for  duty 
at  about  seven  in  the  evening  and  be  relieved  at 
about  7:30  a.  m.  by  the  porter  or  cleaners. 

He  should  be  provided  with  the  standard 
watchman's  clock,  stations  therefor  being  lo- 
cated close  to  box-office,  at  front  of  theatre, 
both  sides  of  auditorium,  balcony,  gallery,  on 
stage,  under  stage,  at  back  door  of  theatre  and 
such  other  points  as  should  be  regularly  visited 
during  the  night. 

The  night  watchman,  while  his  first  duty  is 
to  see  to  the  general  safety  of  the  theatre,  can 
be  "doubled"  as  a  cleaner  between  about  3 
a.  m.  and  his  relief  time,  and  used  to  clean  the 
balcony  or  gallery,  or  some  other  section  of  the 
theatre.  He  can  do  this  without  interference 
with  his  efficiency  as  a  watchman,  and  thus  jus- 
tify his  salary,  which  is,  in  many  theatres,  con- 
sidered rather  an  unnecessary  one. 

A  theatre  is,  however,  subject  to  so  many 
risks  that  it  has  been  the  writer's  experience 
that  the  expense  incident  to  keeping  a  reliable 
night  watchman  on  duty  is  more  than  justified, 
especially  if  he  is  given  some  work  to  do  about 
the  house  at  night  that  will  not  interfere  with 

154 


his  duties  as  guardian  of  the  property  entrusted 
to  his  care. 

The  Porters  and  Cleaners 

The  porter  is  the  general  "handy  man" 
around  the  theatre;  as  a  rule  his  hours  are  long 
and  his  service  includes  the  making  of  many 
little  repairs  about  the  house.  It  follows  that 
he  should  know  how  to  repair  a  leaky  faucet, 
a  bad-order  toilet,  a  noisy  radiator  or  a  broken 
chair;  he  should  also  be  able  to  use  a  paint 
brush  properly.  A  good  porter,  honest,  dili- 
gent and  efficient,  is  a  valuable  employee,  and, 
if  he  is  capable,  his  value  will  far  exceed  in 
dollars  and  cents  the  amount  of  his  salary. 

Whether  one  or  more  porters  are  employed, 
written  instructions  should  be  issued  govern- 
ing their  general  duties,  and  the  manager  and 
superintendent  should  both  check  closely  behind 
the  work  done,  observing  that  it  is  thorough,  that 
economy  is  practiced  in  the  use  of  cleaning  ma- 
terials, etc. 

Porters  should  wear  uniforms  and  caps,  but 
of  a  different  type  and  color  from  those  of  the 
balance  of  the  staff.  They  should  report 
promptly  for  work  at  the  hour  designated  in 
instructions.      If   the    head    porter    doubles    as 

165 


footman,  it  should  be  his  duty  to  see  that  the 
lights  are  turned  out  and  the  front  of  house  se- 
curely closed  after  each  performance. 

Lobby,  sidewalk  and  gutters  should  be  kept 
clean,  but  this  work  should  never  be  done  while 
audiences  are  passing  in  or  out  of  theatre,  ex- 
cept as  to  picking  up  used  ticket  envelopes 
strewn  about  the  floor,  etc.  A  mop  and  pail 
of  clean  water,  broom  and  dustpan  should  be 
kept  in  some  accessible  (concealed)  place,  avail- 
able for  emergency  use  in  the  lobby. 

It  is  suggested  that  the  porter  and  the  clean- 
ers (if  men)  should  report  for  duty  not  later 
than  eight  o'clock  each  morning  and  should  be 
given  lunch  hour  at  a  time  that  will  permit 
of  their  being  back  and  in  uniform  at  least 
thirty  minutes  before  show  time. 

The  porter  should  be  trained  carefully  to  be 
polite  and  courteous  to  all  persons,  and  as  the 
average  porter  is  not  a  person  of  great  mental 
capacity,  his  work  should  be  carefully  super- 
vised EVERY  DAY  by  the  manager  or  super- 
intendent. Unpolished  brass,  unclean  floors,  a 
disorderly  lobby,  dirty  carpets,  dusty  chairs, 
dull  mirrors  and  glass,  and  filthy  sidewalk  and 
gutter  not  only  indicate  an  inefficient  porter, 
but  also  mighty  poor  supervision  of  his  work. 

Much  emphasis  is  laid  on  the  necessity  for 

166 


cleanliness  in  all  parts  of  the  house  at  all  times. 
There  are  reasons  for  this  other  than  merely  the 
matter  of  making  the  theatre  attractive,  and 
not  the  least  important  of  these  is  that  accumu- 
lations of  rubbish  in  the  corner  of  a  closet,  be- 
hind a  door  in  a  dark  hall,  under  and  back  of 
radiators  and  in  seldom  visited  portions  of  a 
theatre,  have  been  directly  responsible  for  more 
than  one  disastrous  fire.  A  fire  in  a  theatre  is 
several  degrees  worse  in  its  damaging  effect 
than  one  in  almost  any  other  institution.  It 
not  only  causes  the  physical  damage  and  loss, 
but  it  also  begets  distrust  in  the  mind  of  the 
public  as  to  the  safety  of  the  house,  with  a  con- 
sequent loss  of  the  patronage  of  timid  persons. 

If  the  management,  superintendent  and 
cleaning  crew  are  inclined  toward  shiftless  in- 
difference to  the  importance  of  absolute  clean- 
liness in  all  departments  and  at  all  times,  they 
are  likely  to  be  equally  careless  in  other  respects. 

Whatever  number  of  persons  it  may  be 
necessary  to  employ  in  order  to  keep  the  thea- 
tre, in  all  its  parts,  scrupulously  clean,  should 
be  engaged.  The  best  class  of  persons  for  this 
work,  in  the  writer's  experience  and  observation, 
is  women  from  twenty-five  to  thirty-five  years 
of  age,  of  sufficiently  sturdy  physical  strength 
to  do  the  work  well. 

157 


In  the  application  of  oil  or  polish  to  wood- 
work or  seats,  great  care  should  be  taken  by 
the  cleaners  to  "wipe  dry  and  polish"  so  that 
the  management  will  not  be  faced  with  claims 
for  damage  to  ladies'  clothes. 

A  vacuum  cleaner  is  a  necessity  and  can  be 
used  to  great  advantage  in  cleaning  seats,  be- 
hind radiators,  in  corners,  etc. 

Each  cleaner  should  be  responsible  for  the 
condition  of  his  or  her  particular  brooms,  mops, 
pails,  etc.,  and  should  be  required,  after  using 
same,  to  store  them  neatly  in  the  place  pro- 
vided for  that  purpose. 

The  Ladies'  Maid 

Though  many  theatres  do  not  maintain  this 
employee,  even  when  a  ladies'  retiring-room  is 
provided,  the  position  is  not  an  unimportant 
one,  and  in  theatres  of  the  better  class  it  can  be 
made  a  very  desirable  adjunct  to  the  other  ser- 
vice of  the  house. 

If  a  maid  is  employed,  she  should  be  chosen 
with  the  same  careful  attention  to  her  qualifi- 
cations for  the  work  to  be  done  as  is  given  to 
the  selection  of  other  employees. 

She  should  preferably  be  white,  about  thirty- 
five  years  of  age,  of  good  reputation,  neat  and 

168 


clean  in  her  appearance  and  habits,  adept  and 
deft  at  rendering  the  little  services  which  la- 
dies are  likely  to  require.  Her  character  should 
be  above  reproach,  and  it  should  be  her  duty 
to  see  that  the  ladies'  retiring-room  is  kept  neat 
and  clean,  and  the  equipment  maintained  at 
standard.  After  the  show  she  should  lock  up 
the  small  articles,  such  as  brushes,  combs,  etc., 
and  at  least  ten  minutes  before  the  house  opens 
for  each  show,  she  should  have  the  room  ready 
for  inspection  by  the  superintendent  or  man- 
ager. 

It  should  be  distinctly  understood  that  she 
is  to  render  cheerful,  willing  service  to  all  com- 
ers alike — as  readily  to  the  modestly  as  to  the 
elaborately  dressed  patron.  She  should  not  be 
permitted  to  accept  gratuities  and  should  re- 
main courteous  and  polite  under  any  and  all 
circumstances. 

Her  uniform  should  consist  of  black  skirt 
and  waist,  with  white  apron  and  cap.  She 
should  remain  on  duty  until  every  patron  has 
departed  from  the  theatre  after  every  per- 
formance. 

The  Footman 

In  these  days  of  automobiles  and  a  general 
tendency  toward  "dressing  up"  the  front  of  the 

169 


house,  many  of  the  leading  theatres  in  larger 
cities  have  added  a  footman  to  the  staff.  Usually 
this  employee  doubles  in  some  other  capacity 
during  the  hours  when  he  is  not  on  duty  as 
footman. 

If  there  is  to  be  a  footman  at  the  theatre, 
he  should  be  of  commanding  stature,  excep- 
tionally polite,  uniformed,  and  during  winter 
months  warmly  enough  clad  as  to  make  it  un- 
necessary for  him  to  loiter  in  the  lobby  in  an 
effort  to  keep  warm. 

He  should  meet  patrons  arriving  in  autos, 
etc.,  at  the  curb,  open  the  doors  of  cars,  assist 
crippled  or  infirm  persons  across  the  sidewalk, 
etc.  If  it  is  a  custom  to  park  cars  against  the 
curb  adjoining  the  theatre,  or  across  the  street, 
the  footman  should,  so  far  as  may  be  prac- 
ticable, keep  watch  over  them  while  the  owners 
are  in  the  theatre. 

After  the  first  show,  he  should  be  familiar 
with  the  exact  time  of  the  last  curtain,  in  or- 
der to  inform  patrons  when  asked.  At  the 
close  of  the  performance  he  should  again  be  at 
the  curb,  assisting  in  every  way  to  expedite  the 
calling  of  cars,  opening  doors,  etc.  He  should 
not  hold  "curbstone  conferences"  with  his 
friends,  but  should  be  at  attention  during  his 
hours  on  duty. 

160 


A  shovel  and  broom  should  be  kept  in  a 
handy  but  concealed  place,  for  his  use  during 
the  show  in  maintaining  an  orderly  appearance 
about  the  sidewalk,  curb  and  gutters. 

The     Picture     Machine     and     Spotlight 
Operator 

This  is  an  employee  who,  under  usual  con- 
ditions, works  in  a  seldom-visited  and  isolated 
portion  of  the  theatre.  Hence  it  is  essential 
that  he  be  of  the  type  that  can  be  trusted,  that 
will  be  loyal,  bearing  constantly  in  mind  how 
much  depends  upon  intelligent  and  efficient  ser- 
vice in  his  department. 

First  and  foremost,  he  handles  an  unusually 
inflammable  material — celluloid  film.  Once  ig- 
nited it  is  extremely  diflScult  to  extinguish.  It 
follows  that  all  electrical  equipment  should  be 
so  installed  as  to  eliminate  the  likelihood  of 
arcing,  short-circuiting,  falling  sparks,  etc.  It 
is  essential  that  the  booth  be  kept  scrupulously 
clean;  that  all  film  not  actually  in  the  machine 
be  stored  in  proper  metal  containers;  that  the 
safety  appliances  of  the  machine  be  not  tam- 
pered with,  "improved,"  or  altered  in  any  way. 
Manufacturers  spend  thousands  of  dollars  in 
perfecting    safety    devices    and    the    National 

161 


Board  of  Fire  Underwriters  subjects  them  to 
exhaustive  laboratory  tests  to  determine  their 
efficiency;  for  an  operator  to  decide  that  he  can, 
with  a  rubber  band  and  a  piece  of  string,  im- 
prove upon  this  work,  is  ridiculous.  There- 
fore, tampering  in  any  way  with  these  devices 
should  be  punished  by  dismissal. 

Automatic  door-opening  and  closing  devices, 
protected  by  fusible  plugs,  and  in  accordance 
with  codes  and  ordinances,  should  likewise  not 
be  indiscriminately  subjected  to  the  operator's 
inventive  experiments. 

However,  this  does  not  imply  that  the  opera- 
tor may  not  have  good  ideas.  If  an  improve- 
ment is  suggested  by  him,  it  should  receive 
consideration  from  the  manager,  and  possibly 
a  test  arranged  for  it,  in  the  presence  of  the 
local  fire  marshal  and  insurance  experts.  The 
manager  will  have  thereby  proved  his  alert- 
ness, and  will  have  legitimately  encouraged  the 
operator  not  only  in  whatever  mechanical  in- 
ventiveness he  may  possess,  but  also  in  his  feel- 
ing of  loyalty  toward  the  theatre  and  its  man- 
agement. 

The  operator  should  have  a  pail  of  clean,  dry 
sand  at  the  side  of  each  machine  for  use  as 
a  fire-extinguisher;  nothing  has  proved  so  ef- 
fective in  film  fires.     In  addition  to  this,  ample 

162 


approved  chemical  fire-extinguishing  apparatus 
should  be  provided.  The  buckets  of  sand  are 
not  intended  to  serve  also  as  cuspidors.  The 
booth  must  be  kept  free  from  any  accumulation 
of  rubbish,  paper  and  magazines,  etc. 

Operators  are  prone  to  "start  her  going"  on 
a  thousand-foot  reel,  and  then  sit  down  to  read 
or  indulge  in  a  deep  brown  study  as  far  away 
from  the  heat  of  the  lamp  as  they  can  get. 
This  is  very  poor  practice.  A  picture  "out 
of  frame"  is  a  miserable  thing  for  the  audience 
to  look  at,  and  "out  of  focus"  is  worse.  It 
does  not  matter  that  the  operator  may  be  weary 
of  looking  at  the  same  picture;  so  long  as  he 
is  running  it,  he  should  be  alert  at  the  side  of 
the  machine,  looking  through  the  porthole  at 
the  picture.  No  excuse  should  be  accepted  for 
any  other  position,  unless  it  is  necessary  for 
him  to  rewind  one  film  while  running  another; 
in  this  event  he  should  have  his  rewinding  ap- 
paratus so  located  that  he  can  look  through  the 
porthole  at  the  picture  every  few  seconds. 

Wastage  of  current  here,  through  "warm- 
ing up"  carbons  earlier  than  is  necessary,  should 
be  guarded  against,  likewise  wastage  of  car- 
bons— a  considerable  item  on  the  season.  JNIod- 
ern  appliances  have  done  away  with  the  neces- 
sity for  discarding  three  or  four  inches  of  car- 
ies 


bon  butt,  as  almost  the  entire  stick  can  now 
be  effectively  consumed. 

If  a  picture  is  worth  running,  it  is  worth 
running  right.  It  should  never  be  "speeded  up" 
until  the  figures  jump  about  crazily,  nor  yet 
slowed  down  to  the  same  effect.  These  things 
are  perfectly  apparent,  and  are  mentioned  only 
that  the  writer  may  not  be  accused  of  incom- 
pleteness as  to  essential  details. 

Films  should  be  promptly  shipped  in  accord- 
ance with  the  instructions  of  the  furnishing  ex- 
change, and  the  operator  should  have  a  clear 
receipt  covering  every  shipment.  He  should  be 
held  PERSONALLY  responsible  for  this. 

Acts  requiring  spotlights  should  be  given  a 
thorough  light  rehearsal,  and  the  light  plot 
should  be  clearly  understood  by  the  operator, 
who  should  in  every  case  be  furnished  with  a 
written  or  typed  plot.  There  is  no  excuse  for 
the  operator's  leaving  his  booth  or  spotlight  ma- 
chine when  his  services  are  not,  for  the  mo- 
ment, in  requisition;  emphasis  is  placed  on  this 
for  the  reason  that  his  lamps  are  frequently  on 
an  entirely  different  circuit  from  those  of  the 
rest  of  the  house,  and  in  case  of  an  emergency 
he  can  furnish  enough  light  to  prevent  a  panic 
in  the  auditorium.  An  operator  should  under- 
stand that  by  smoking  in  the  booth  or  while 

164 


on  duty,  he  automatically  forfeits  his  position. 
Cleaning,  oiling  and  maintaining  the  efficiency 
of  the  costly  machines  should  be  a  matter  of 
pride  with  him — otherwise  it  will  certainly  be 
one  of  considerable  expense  to  the  management. 
The  operator  is  in  a  position  of  peculiar  trust, 
in  view  of  the  dangerously  inflammable  ma- 
terial which  he  handles.  He  should  be  made 
to  feel  this  responsibility  keenly  and  no  care- 
lessness on  his  part  should  be  for  a  moment  tol- 
erated. 

STAGE  EMPLOYEES 

The  Stage  Crew 

This  is  the  department  which  actually  handles 
the  production  and  presentation  of  every  per- 
formance. Unless  things  run  smoothly  and  on 
time  here,  the  show  suffers.  Stage-hands  should 
not  be  expected  to  be  of  exceptional  capabili- 
ties; if  they  were  they  would  probably  not  be 
stage-hands.  Therefore,  upon  the  direction, 
training  and  advice  they  receive  from  the  stage- 
manager,  and  through  him  from  the  manager, 
will  largely  depend  the  thoroughness  and  degree 
of  intelligence  with  which  their  work  is  done. 

It  is  not  infrequently  the  habit  of  some  mem- 

166 


bers  of  the  crew  to  slip  out  to  a  nearby  sa- 
loon; or,  when  a  twenty-minute  sketch  goes  on 
and  everything  is  set  for  it,  to  congregate  with 
other  employees  and  outsiders  in  the  alley,  or 
at  the  stage  entrance.  This  should  never  be  per- 
mitted. A  fire,  an  accident,  or  something  gone 
wrong  on  the  stage,  and  time  lost  getting  them  in 
and  to  work  may  spell  disaster,  even  ruin. 

A  clean  shave  and  a  gentlemanly  appearance 
are  no  less  desirable  on  the  stage  than  out  front. 
There  are  women  artists  on  the  bill,  entitled  to 
the  same  consideration  as  the  women  patrons — 
and  it  is  due  them  that  the  crew  look  to  these 
matters.  It  is  also  due  the  crew  itself,  for  the 
practice  of  requiring  this  will  increase  their 
self-respect  and  their  general  pride  in  and  loy- 
alty to  their  craft. 

Smoking  on  stage  while  on  duty  and  report- 
ing tardy  or  intoxicated  are  legitimate  reasons 
for  dismissal.  In  general  practice  the  author 
deems  it  fairest  and  best  to  warn  the  employee 
the  first  time  he  transgresses  this  rule,  and  dis- 
charge him  for  the  second  infraction  thereof. 

The  entire  crew  should  be  required  to  work  in 
perfect  harmony,  under  the  general  supervision 
of  the  stage-manager,  who  should  so  conduct 
himself  as  to  command  and  hold  their  respect. 

Graft  in  any  department  should  be  sternly 

166 


discouraged,  and  it  is  advisable  that  both  man- 
ager and  stage-manager  exercise  every  precau- 
tion to  prevent  its  practice  as  destructive  in 
part  of  the  efficiency  of  the  crew.  Gambling, 
crap-shooting,  etc.,  should  not  be  permitted  on 
or  about  the  stage  at  any  time. 

The  stage  crew  should  be  drilled  in  the  use 
of  the  fire-extinguishing  apparatus;  each  mem- 
ber should  be  assigned  to  a  specific  duty  and 
station  in  case  of  fire,  and  to  make  sure  that 
these  are  clearly  understood,  periodical  drills 
should  be  held. 

The  Stagb-^Ianager 

This  is  the  employee  in  direct  and  responsible 
charge  of  the  stage,  its  crew  and  workings;  is 
oft  times  the  "go-between"  for  the  artist  and 
manager  in  settling  little  difficulties  or  disputes, 
and  frequently  the  smooth  and  harmonious  run- 
ning of  the  bill  will  depend  upon  his  tact  and 
diplomacy  in  handling  these  minor  arguments. 
He  must  not  be  arrogant  or  overbearing,  or 
inclined  to  loud  or  boisterous  ways.  If  there 
is  the  slightest  doubt  as  to  the  course  to  pursue 
in  event  of  disagreement  with  an  act,  he  should 
defer  making  a  decision  until  he  is  able  to  com- 
municate with  the  manager,  and  then  impart  the 

167 


result  of  his  conference  or  instructions  in  a 
courteous  but  firm  manner.  Let  the  impres- 
sion be  given  that  the  effort  is  to  arrive  at  fair 
and  equitable  conclusions,  having  in  mind  what 
will  be  best  for  the  entire  bill  and  the  theatre, 
rather  than  the  favoring  of  some  special  or 
headline  act. 

He  should  see  that  the  stage  and  its  sur- 
roundings are  kept  clean,  not  indifferently  so, 
but  thoroughly.  It  behooves  him  to  be  alive  to 
fire  risks  in  every  possible  connection  and 
to  be  alert  in  protecting  the  interests  of  the 
theatre  by  eliminating  customs  or  conditions 
which  might  cause  personal  injuries.  As  an 
illustration:  Recently,  in  a  vaudeville  theatre, 
the  flyman,  climbing  the  ladder  to  the  gallery, 
fell  from  a  considerable  height  to  the  stage  and 
was  seriously  injured.  He  fell  because  a  hand- 
hold on  the  ladder  pulled  off.  The  ladder  had 
been  used  every  day  for  several  seasons.  It 
was  generally  known  about  the  stage  that  it  was 
pretty  well  worn,  but  the  stage-manager  had 
not  taken  enough  interest  in  the  matter  to  in- 
spect it  and  make  sure  it  was  safe.  Many 
instances  of  a  similar  nature  could  be  cited;  of 
worn  ropes  giving  way  and  dropping  weights, 
border  lights,  etc.,  cleaners  and  others  falling 
from    worn    and    defective    stepladders,    faulty 

168 


and  poorly-lighted  stairways  causing  tumbles, 
etc.  Suffice  it  to  say  that  such  incidents  are 
often  very  expensive,  and  that  most  of  them 
can  be  prevented  by  wide-awake,  alert  inspec- 
tion, with  proper  action,  before  an  accident 

OCCURS. 

It  should  be  borne  in  mind  that  though  em- 
ployer's and  public  liability  insurance  policies 
apparently  protect  against  loss  in  connection 
with  personal  injuries  sustained  in  and  about 
the  theatre,  the  policy  probably  provides,  and 
the  courts  are  likely  to  hold,  that  it  is  the  man- 
agement's duty  to  exercise  due  diligence  in 
maintaining  premises  and  equipment  in  a  rea- 
sonably safe  condition. 

There  can  be  no  slacking  of  the  stage-man- 
ager's diligence — it  must  be  constant  to  be  prop- 
erl}''  effective  and  to  maintain  continuously  high 
efficiency  in  all  departments  of  the  stage  work. 
He  should  be  watchful  that  lighting  and  elec- 
trical effects  are  properly  handled;  that  elec- 
tricity is  not  wastefully  used,  lamps  or  properties 
carelessly  broken,  etc.  He  should  be  sternly 
insistent  that  all  his  subordinates  perform  their 
duties  properly  and  loyally,  and  not  hesitate 
to  discipline  them  when  they  fail  to  do  so;  but 
he  should  never  shout  his  orders  so  loudly  that 
they  can  be  heard  by  patrons  in  the  auditorium. 

169 


Let  it  be  clearly  understood  that  since  he  has 
under  his  supervision  and  direction  the  heads  of 
the  various  stage  departments  and  looks  to  them 
for  efficient  service  therein,  it  is  to  him  that  the 
manager  will  look  for  an  explanation  of  short- 
comings or  any  stage  work  improperly  done 
and  that  an  effort  seeking  to  shift  the  blame 
to  a  sub-department  head  will  not,  under  any 
circumstances,  be  satisfactory.  If  it  is  appar- 
ent to  the  stage-manager  that  he  has  an  incom- 
petent man  in  any  department,  it  behooves  him, 
with  the  consent  of  the  manager,  to  replace  that 
man  with  a  competent  one. 

As  a  general  proposition,  the  manager  should 
transmit  important  instructions,  notices  of 
change  in  programs,  and  general  orders,  in 
writing  to  the  stage-manager,  retaining  a  car- 
bon copy  thereof.  There  will  be  many  times 
when  this  will  avoid  a  subsequent  disagreement 
as  to  just  what  was  said  or  was  to  be  done. 

The  stage-manager  should  bear  in  mind  that 
the  headliner  cannot  give  the  whole  show — that 
the  opening  act  is  entitled  to  and  should  receive 
the  same  courteous  and  complete  attention  to 
his  needs  as  that  given  any  other  on  the  bill. 
It  should  be  his  custom  to  see  that,  so  far  as 
practicable,  the  reasonable  requests  of  all  artists 
for  props,  settings,  etc.,  are  complied  with.    He 


170 


should  remember  that  the  artist  has  probably 
been  doing  the  same  act  for  some  time,  has 
very  likely  made  a  close  study  of  the  effect 
upon  it  of  the  use  of  certain  types  of  settings, 
props,  lighting,  etc.,  and  presumably  knows 
better  than  anyone  else  just  what  is  required. 

It  is  almost  needless  to  say  that  the  stage- 
manager  should  be  on  duty  early  and  late — 
that  is,  from  the  time  he  "goes  in"  until  the 
show  is  over.  He  should  be  the  last  to  leave 
the  stage.  Let  him  see  that  the  stage  is  cleared, 
props  taken  care  of,  and  stage  lights  reduced 
to  pilot  lights  at  switchboard  and  night  light 
before  leaving  the  theatre. 

Careful  thought  should  be  given  to  the  selec- 
tion and  training  of  the  man  who  is  to  occupy 
the  important  position  of  stage-manager. 

The  Electrician 

An  indifferent  mechanic  in  this  department, 
one  of  the  "let  it  go  at  that"  type,  will  not  do. 
Electricity,  handled  properly,  is  almost  infal- 
lible; handled  otherwise,  it  is  subject  to  freak- 
ish, unexpected  and  disconcerting  "stunts."  It 
starts  fires,  blows  out  fuses,  burns  up  lamps, 
shocks  people  and  causes  much  damage  if  it  is 
not  controlled  by  one  who  knows  how  to  han- 

171 


die  it.  It  is  alert  and  alive,  quick  as  lightning 
— and  it  takes  just  that  type  of  individual  to 
control  it. 

The  electrician,  by  careful  attention  to  pre- 
venting wastage  of  current,  breakage  of  lamps; 
by  guarding  against  "grounds,"  short-circuits; 
by  proper  fusing  and  the  making  of  secure,  de- 
pendable connections,  can  save  more  than  his 
salary  every  week.  A  ground  or  a  short-circuit 
may  blow  out  main  or  other  fuses,  put  the  house 
and  stage  in  darkness,  and  ruin  an  act  or  a  whole 
show. 

It  behooves  the  electrician  to  look  carefully 
and  constantly  to  his  stock  on  hand  and  the 
condition  of  cables,  connectors,  sockets,  plugs, 
plugging  boxes,  spot,  bunch,  flood,  strip  and 
other  lights,  fuses,  switches,  dimmers  and  all 
other  electrical  apparatus,  including  borders 
and  footlights.  Sufficient  fuses  of  all  sizes  used 
in  the  theatre  for  emergencies  should  be  kept 
on  hand  always;  not  stored  in  some  inacces- 
sible place,  but  instantly  available.  Color- 
frames,  colorine,  gelatines,  cables  and  such 
equipment  should  be  maintained  in  strictly 
first-class  workable  condition,  with  stocks  on 
hand  sufficient  to  care  for  emergencies. 

The  electrician  should  be  provided  with  a 
suitable  room  with  adequate  shelf  space,  for  the 

172 


storing  of  his  materials  under  lock  and  key. 
Issues  to  or  purchases  by  him  of  such  material 
should  be  carefully  recorded  and  checked  by 
the  management.  When  he  wishes  a  carton  of 
globes  purchased,  he  should  have  a  carton 
of  burnt-out  or  broken  ones  to  turn  in  for  it, 
and  this  rule  should  apply  with  fuses  and  other 
equipment. 

Bunch,  strip,  spot  and  such  lights,  when  not 
in  use,  should  be  stored  in  an  accessible  place, 
but  not  where  they  will  be  knocked  over  and 
broken  by  shifting  scenery,  etc. 

The  electrician  should  know  how  to  read 
meters  and  calculate  the  amoimt  in  dollars  and 
cents  of  the  current  used.  He  should  make  his 
readings  at  the  same  time  as  the  representative 
of  the  electrical  company,  and  should  turn  in 
to  the  manager  a  written  slip  showing  the 
figures  and  amount.  He  should  be  required  to 
explain  any  unusual  fluctuation  in  the  amount 
of  current  used. 

The  switchboard  should  be  equipped  with  a 
chemical  fire-extinguisher  of  the  type  approved 
for  use  in  case  of  electrical  fires,  and  a  sub- 
stantial electric  flashlight. 

There  is  no  more  important  station  back  stage 
than  at  the  switchboard,  and  the  electrician, 
during  hours  of  performance,   should  be  there 

173 


constantly.  He  should  not,  ever,  when  an  act 
has  gone  on  to  "set"  for  twenty  minutes  or  so, 
hie  himself  to  the  stage  door  for  a  "gab-fest,"  or 
isolate  himself  in  the  store-room,  or  otherwise  so 
conceal  himself  that  in  an  emergency  it  would 
take  a  Sherlock  Holmes  to  discover  his  where- 
abouts; he  should  be  right  at  the  switchboard, 
prepared  and  equipped  to  handle  any  situation 
that  may  arise  with  reference  to  the  electrical 
equipment.  Just  bear  in  mind  that  a  blown  fuse, 
a  dark  house,  and  a  slight  delay  in  getting  con- 
ditions remedied  may  result  in  a  panic  out  front. 
At  rehearsals  he  should  be  sure  he  imder- 
stands  cues  correctly,  and  to  eliminate  subse- 
quent argument,  should  either  require  the  artist 
to  give  them  to  him  in  writing,  or  make  a  writ- 
ten record  of  them  himself  and  require  the  artist 
to  "O.  K."  it.  He  should  understand  that  he  is 
not  merely  a  mechanic,  but  that  he  is  part  and 
parcel  of  the  show  itself;  apart  from  a  real  dis- 
aster, no  one  back  stage  can  do  more  harm  to 
an  act  than  can  a  negligent,  careless  individual 
in  charge  of  the  destinies  of  the  switchboard. 

The  Property-Man 

"Resourcefulness"  should  be  the  middle  name 
of  the  individual  who  is  competent  to  occupy  the 

174 


position  of  propertj'-man  in  a  theatre.  There 
are  other  important  qualifications,  but  this  one 
is  essential.  He  may  be  called  upon  to  supply 
anything  from  an  Egyptian  mummy  to  a  three 
week-old  child,  upon  a  moment's  notice.  He 
must  be  a  bit  of  a  carpenter,  something  of  an 
artist,  a  great  deal  of  a  diplomat,  and  he  must 
be  "on  the  job"  from  the  rising  of  the  sun  to 
considerably  after  the  setting  thereof — in  other 
words,  this  is  not  the  place  for  a  lazy  or  a  shift- 
less man. 

A  property-man  should  have  the  ability  to 
meet  people  pleasantly  and  to  make  a  favorable 
impression.  He  should  cultivate  cordial  rela- 
tions with  transfer  companies,  with  the  various 
merchants  of  the  city,  and  with  other  persons 
from  whom  he  is  likely  to  need  favors  in  the  way 
of  borrowed  properties.  He  will  be  faced  with 
the  necessity  of  requesting  loans  from  homes, 
pawn-shops,  museums  and  other  public  institu- 
tions, stores  and  individuals.  He  should  be  able 
to  convey  the  impression  of  responsibility — 
and  should  live  up  to  it.  To  a  peculiar  de- 
gree, he  has  the  reputation  of  the  theatre  in 
his  keeping;  it  is  absolutely  essential  that  he 
call  for  properties  loaned  or  rented  at  the  time 
agreed  upon,  that  he  care  for  such  articles  most 
assiduously  while  they  are  being  used  and  that 

176 


he  return  them  promptly  and  in  the  same  con- 
dition as  when  borrowed. 

Whatever  agreement  has  been  made  for  re- 
muneration to  the  lender,  whether  in  the  form 
of  passes,  money  or  the  patronage  of  the  thea- 
tre, display  in  the  program  or  other  manner, 
should  be  strictly  and  conscientiously  adhered 
to.  If,  regardless  of  the  cause,  borrowed  prop- 
erties are  damaged  during  their  transportation 
to  or  from,  or  use  in  the  theatre,  the  property- 
man  should  not  attempt  to  slip  them  back  to 
the  owner  without  advising  him  of  the  damage. 
It  is  best  to  make  a  clean  breast  of  it  with  ap- 
propriate apologies  and  a  sincere  offer  to  repair 
the  damage  or  pay  for  the  article — for  if  the 
merchants  and  others  know  this  is  the  theatre's 
practice,  they  will  more  willingly  loan  the  prop- 
erty-man the  articles  he  needs. 

The  property-man  should  be  allowed  a  rea- 
sonable number  of  passes  with  which  to  "square" 
his  borrowings;  but  he  should  be  required  to 
account  carefully  for  them  and  be  checked  by 
the  management  upon  their  use. 

It  requires  dexterous  and  intelligent  handling 
of  props  "on  stage"  to  avoid  costly  breakage 
and  damage.  A  few  suggestions  tending  to 
the  prcA^ention  of  this  are:  Remove  pictures 
from  scenery,  bric-a-brac  from  mantels  and  ta- 

176 


bles,  floor-lamps,  desk-lamps,  etc.,  "into  clear" 
BEFORE  the  setting  is  struck.  Then  as  the 
set  is  struck  and  openings  made,  remove  tables, 
chairs,  lounges,  pianos,  and  the  heavier  stuff; 
and  in  placing  or  storing  props  and  furniture 
against  walls  or  packs,  take  care  to  avoid  put- 
ting them  in  the  way  of  stuff  to  be  quickly 
handled  into  the  next  set.  Fragile  articles,  such 
as  vases,  clocks,  bric-a-brac,  etc.,  should  be  im- 
mediately stored  in  the  property-room,  in  their 
proper  places,  and  not  left  about  the  stage,  on 
tables,  etc.,  to  be  knocked  over  and  broken.  As 
soon  as  the  set  is  finished,  furniture  and  like 
props  left  on  the  stage  against  walls,  etc.,  should 
be  covered  with  heavy  unbleached  muslin  sheets 
or  coverings,  of  which  foiu*  or  five,  ranging  in 
size  from  12  feet  by  12  feet  to  12  feet  by  20  feet, 
should  be  furnished  the  property  department. 
Xumber  each  of  these  prop  covers  consecutively 
in  large  black  figiu'es,  to  prevent  their  being  torn 
up  for  cleaning  rags  and  to  aid  in  checking  this 
department  when  inventories  are  made.  Proper 
use  of  these  coverings  will  save  paying  for  re- 
finishing  many  a  scratched  table,  piano  or  chair. 
The  customary  upright-piano  used  by  vaude- 
ville acts  in  "one"  is  generally  a  disgraceful- 
looking  affair.  Five  minutes  spent  daily  on 
this,    with   an    oil-dampened   rag,    will    keep    it 

177 


bright  and  new-looking  despite  the  rough  hand- 
ling it  of  necessity  receives;  there  is  no  excuse 
for  flaunting  in  the  face  of  an  audience  the 
marred,  scratched,  dull-looking  instrument  that 
is  so  often  rolled  out  on  a  dark  change.  This 
simple  suggestion  means  not  only  increased  life 
for  the  instrument,  but  also  materially  enhances 
exchange  and  selling  value,  or,  if  borrowed, 
minimizes  complaint  when  the  instrument  is  re- 
turned to  the  dealer.  Most  first-class  theatres 
now-a-days  are  equipped  with  ball-bearing  roller 
piano  trucks  in  which  their  pianos  are  handled, 
and  houses  which  do  not  possess  such  are  urged 
to  get  one  for  each  instrument  handled  on  the 
stage.  They  can  either  be  made  by  the  car- 
penter, or  seciu'ed  through  the  piano  dealer  at 
moderate  cost;  equipped  with  extra  large  ball- 
bearing casters,  they  are  moved  with  the  great- 
est ease  and  control  even  when  loaded  with  the 
heaviest  instruments. 

All  stage-carpets  and  medallions  should  have 
2-inch  galvanized  iron  rings  sewed  half-way 
into  and  along  one  side  of  same,  one  foot  apart, 
reinforced  with  3-inch  webbing,  or  attached 
with  leather  tabs  so  they  will  be  very  secure.  A 
batten  should  be  provided  for  each  of  the  car- 
pets or  medallions,  with  2-inch  open  screw 
hooks   one   foot  apart.     The  rings  at  the  side 

178 


of  the  carpet  readily  and  quickly  fasten  over 
hooks  in  the  batten  and  the  carpet  can  be 
quickly  flied.  This  avoids  rolling  or  folding 
these,  keeps  them  cleaner  and  adds  years  to 
their  life. 

Small  rugs,  portieres,  draperies,  lace  cur- 
tains, etc.,  should  be  hung  over  poles  in  a  spe- 
cial part  of  the  property-room  or  in  a  separate, 
dust-proof  place,  set  aside  as  the  rug  and 
drapery  room.  In  this  same  room,  adequately 
Made,  clean  shelves  should  be  available  for  stor- 
ing sofa  pillows,  scarfs  and  small  draperies. 

The  property-room  holds  much  of  the  ma- 
terial necessary  for  making  the  stage  picture 
attractive,  and  seldom  receives  the  attention  it 
deserves.  It  should  be  as  nearly  dust-proof  as 
possible,  absolutely  dry,  and  kept  perfectly  clean 
and  orderly. 

Ground-cloths,  stage-carpets  and  rugs  should 
be  swept  daily,  and  when  placed  in  any  set 
should  be  run  over  with  a  Bissell  "Hotel"  size 
carpet-sweeper.  Floor  coverings  will  then  look 
as  they  should  when  the  curtain  goes  up,  and 
a  bi-weekly  vacuum  cleaning,  if  the  house  has 
a  machine,  will  lengthen  their  life  and  keep 
them  fresh-looking  almost  indefinitely. 

If,  through  unusually  rough  or  careless  use,  an 
artist  damages  or  wrecks  a  piece  of  furniture  or 

179 


a  prop,  he  should  be  required  to  pay  for  re- 
pairmg  or  replacing  it,  whichever  is  necessary. 
As  soon  as  the  damage  is  done,  the  property- 
man  should  make  a  report  to  the  manager,  stat- 
ing the  nature  of  the  injury  to  the  article  in 
question  and  giving  an  estimate  of  the  cost  of 
repairing  or  replacing  it.  The  artist  should  be 
notified  immediately  that  this  amount  will  be 
deducted  from  his  salary,  and  if  any  argument 
results  from  this,  it  will  take  place  while  all 
the  circumstances  are  fresh  in  the  minds  of  those 
concerned.  Promptness  in  attending  to  such 
occurrences  w^ill  eliminate  disputes  and  probable 
unpleasantness  at  the  conclusion  of  the  artist's 
engagement. 

It  is  customary  in  many  theatres  for  the 
property-man  to  attend  to  sending  out  and  re- 
ceiving the  laundry  for  the  artists.  The  writer 
has  found  no  objection  to  this  custom,  which  is 
quite  a  convenience  to  the  artists,  provided  that 
the  theatre  be  not  involved  in  any  manner  in 
the  case  of  loss  or  miscarriage  of  bundles.  The 
small  commission  allowed  the  property-man  by 
the  laundry  is  considered  a  legitimate  per- 
quisite of  the  position.  It  goes  without  saying 
that  it  should  not,  and  in  the  author's  observa- 
tion it  does  not,  interfere  with  the  proper  per- 
formance of  his  regular  duties. 

180 


An  accurate  inventory  should  be  made  of  all 
properties  at  the  beginning  of  each  season,  writ- 
ten up  in  triplicate,  one  copy  retained  by  the 
property-man,  one  filed  with  the  manager,  and 
one  with  the  accounting  officer  or  department 
of  the  proprietor  of  the  theatre.  At  the  end 
of  the  season,  or  once  annually  if  the  theatre 
runs  the  year  around,  this  should  be  carefully 
checked,  and  all  shortages  accounted  for  by 
manager's  memo  authorizing  discarding,  junk- 
ing, sale  or  other  disposal.  Inasmuch  as  the 
property-man  is  held  responsible  for  all  of  this 
material,  it  follows  that  he  should  be  furnished 
with  adequately  secure  premises  in  which  to 
store  it.  If  a  property  is  hopelessly  wrecked, 
or  has  outlived  its  usefulness,  the  matter  should 
be  called  to  the  attention  of  the  manager,  who, 
upon  personally  verifying  the  condition,  should 
issue  a  memo  in  triplicate  authorizing  the  prop- 
erty-man to  make  a  certain  specified  disposal 
of  it,  and  one  copy  of  this  memo  should  be  at- 
tached to  each  of  the  original  inventories. 
When  during  the  season  a  property  is  pur- 
chased, a  similar  memo  thereof  should  be  made 
and  filed  with  each  of  the  inventories.  Thus 
a  clear  and  checkable  record  is  maintained 
with  a  minimum  of  effort,  and  the  system 
will   save  the  loss,   in   one  way   or   another,   of 

181 


many  small  and  inexpensive  and  probably  some 
costly  properties  each  season. 

The  importance  of  the  department  presided 
over  by  the  property-man  is  sometimes  not  ade- 
quately realized  by  the  management;  its  value 
will  vary  according  to  the  intelligence,  loyalty 
and  ambition  of  the  individual  employed,  and 
according,  also,  to  the  amount  of  co-operation 
and  appreciation  which  he  receives  from  his 
employer. 

The  Flyman 

In  the  average  theatre,  this  employee  is  iso- 
lated, during  the  performance,  from  the  rest 
of  the  crew.  Aloft,  unobserved,  he  must  needs 
be  a  man  who  will  not  take  advantage  of  the 
fact  to  indulge  in  improper  practices.  He  should 
get  his  sleep  at  hours  other  than  those  de- 
voted to  work  in  the  theatre;  and  just  because 
he  can  "get  away"  with  a  smoke,  shouldn't 
try  it. 

He  should  never  permit  stacks  of  tangled 
slack  in  unused  lines  to  block  up  the  passage- 
way of  his  gallery;  he  should  report  promptly 
to  the  stage-manager  or  carpenter,  lines  that  do 
not  run  freely,  squeaky  shifts,  etc.  He  should 
scrutinize    lines    carefully    and    report    for    re- 

182 


placing  any  that  are  frayed  or  badly  worn;  he 
should  observe  cables  leading  to  border  lights 
and  if  they  are  torn  loose  from  fastenings  or 
damaged  in  any  way,  report  immediately  to 
the  electrician  or  stage-manager. 

His  station  during  inactivity  should  be  con- 
venient to  the  speaking  tube  and  where  he  can 
observe  the  signal  light  and  hear  the  auxiliary 
buzzer  signal,  for  a  circumstance  may  arise 
requiring  quick  action  on  his  part  and  much 
may  depend  upon  it.  No  one  can  foretell-  the 
moment  this  signal  may  come,  hence  it  is  ap- 
parent that  "eternal  vigilance  is  the  price  of 
safety." 

He  should  be  provided  with  a  chemical  fire- 
extinguisher  and  two  heavy  sharp  hand-axes, 
one  located  at  each  end  of  the  gallery  and  hung 
on  convenient  hooks,  for  use  in  cutting  ropes 
in  case  of  fire.  And  at  this  point  let  it  be  said 
that  these  are  fire-axes,  equipment  for  use  in  a 
serious  emergency;  therefore,  they  must  not 
be  removed,  temporarily  or  otherwise,  except 
for  their  proper  purpose.  It  is  quite  the  usual 
thing  for  the  carpenter  or  some  other  employee 
to  "borrow"  these  axes  and  not  return  them. 
This  must  be  guarded  against. 

The  flyman  should  sweep  out  his  gallery 
daily;  the  same  rule  as  to  neatness,  elimination 

183 


of  rubbish,  and  cleanliness  which  applies  in  all 
other  portions  of  the  theatre  should  govern 
here. 

It  is  well  to  make  sure  that  the  flyman  does 
not  devote  his  time  while  acts  are  "on"  to  lit- 
erary pursuits  of  the  "Diamond  Dick"  or  the 
"Nick  Carter"  variety. 

He  should  be  trained  to  look  well  to  the 
security  of  his  "tie  off"  and  to  take  a  pride  in 
the  efficiency  and  dependability  of  his  work. 
It  will  be  w^orth  while  for  the  manager  to  make 
it  a  practice  to  climb  up  to  this  seldom-visited 
place  not  less  often  than  once  a  week  to  look  it 
over,  with  words  of  appreciation  for  real  service, 
correction  if  needed,  or  disajjproval  of  undesir- 
able conditions.  If  it  is  not  practicable  for  the 
manager  to  do  this  personally,  he  should  be  sure 
that  his  stage-manager  does,  and  reports  to  him 
once  weekly  the  conditions  obtaining  in  this  im- 
portant department. 

THE    STAGE 

The  stage  is  the  actor's  workshop  and  play- 
ground as  well,  where  he  builds  his  air  castles 
of  the  present  and  his  plans  of  the  future.  It 
is  upon  the  "boards"  that  the  artist  displays  his 
wares,  meets  with  rebuff  or  receives  the  greatest 

184 


of  all  rewards  that  can  come  to  him,  the  ap- 
plause of  pleased  audiences. 

In  view  of  these  facts,  and  for  cold-blooded 
business  reasons  as  well,  it  pays  to  make  the 
stage  a  clean,  well-lighted  and  cheerful  work- 
shop. Walls  should  be  painted  white  all  around 
to  at  least  the  height  of  the  fly-gallery  floor, 
which  can  be  quickly  and  cheaply  done  with  a 
spraying  machine,  using  a  liquid  white  com- 
pound which  will  not  rub  off;  a  strip  of  flat 
white  should  be  applied,  two  coats  2  feet 
wide,  on  the  floor  all  around  stage,  painting 
across  this  border  at  every  door  or  opening  onto 
stage  a  strip  of  black  the  same  width  as  the 
door  or  opening.  This  aids  in  preventing  care- 
less persons  from  expectorating  behind  scenery, 
along  the  base  of  walls  or  in  corners. 

The  entire  floor  of  stage,  not  only  the  center, 
but  behind  switchboards,  radiators,  and  clear  to 
the  walls,  should  be  thoroughly  swept  each 
morning,  and  as  often  during  the  day  as  is 
necessary.  The  footlight  trough,  a  place  where 
dust  and  dirt  are  particularly  prone  to  ac- 
cumulate, should  be  cleaned  out  daily  with  the 
house  vacuum  cleaner,  or  a  strong  hand-blower, 
after  which  should  come  a  thorough  dusting 
and  all  lamps  wiped  clean  and  bright;  this  will 
give  better  results  in   stage  lighting,   the  min- 

185 


imum  of  trouble  with  short-circuits  in  foot- 
lights, and  a  possible  reduction  in  insurance 
rates  of  a  cent  or  two  per  hundred. 

The  stage  floor  and  corridors  should  be  thor- 
oughly scrubbed  or  mopped  with  warm  water 
and  soap,  twice  weekly,  except  in  the  space 
between  footlight  trough  and  curtain  line  in 
one.  The  apron  should  be  laid  in  clear,  well- 
seasoned  maple  or  other  hardwood;  and  it 
should  be  kept  in  condition  by  a  daily  rub  with 
a  rag  permeated  with  a  mixture  made  of  three 
parts  turpentine  and  one  part  boiled  linseed  oil. 
The  footlight  trough  and  hardwood  apron 
should  be  covered  with  a  tarpaulin  at  all  times 
except  when  show  is  on.  This  will  keep  the 
apron  smooth  and  polished,  and  prevent  break- 
age of  footlight  globes  during  rehearsals,  etc. 

The  general  cleanliness  of  the  stage  is  an  im- 
portant matter;  if  rubbish  is  allowed  to  ac- 
cumulate in  corners  and  behind  radiators,  etc., 
in  time  it  may  cause  the  destruction  of  the 
theatre  by  fire,  and  there  is  no  middle  ground 
between  cleanliness  and  uncleanliness.  A  slov- 
enly-kept stage  foreshadows  shiftless  work  in 
other  departments  and  lack  of  attention  to  de- 
tails. 

The  reader  may  think  that  undue  stress  has 
been  laid  upon  some  details — for  instance,  the 

186 


advice  to  use  warm  water  in  scrubbing.  Never- 
theless, warm  water  dries  out  quicker  than  cold, 
is  not  so  likely  to  warp  or  injure  the  boards, 
adds  wonderfully  to  the  cleansing  power  of  the 
soap,  and  is  just  as  easy  to  obtain  as  cold 
water,  if  one  really  wishes  to  do  the  best  work. 
The  question  may  occur:  Why  be  so  par- 
ticular about  the  hardwood  apron?  Because, 
first:  a  hardwood  apron  is  expensive;  it  will 
last  a  season  or  a  theatrical  lifetime,  according 
to  the  care  it  receives.  Second:  a  real  dancing 
floor  will  materially  improve  the  work  of  a 
dancing  act,  and  every  vaudeville  house  will 
have  many  of  these.  Third:  nothing  worth  do- 
ing at  all  deserves  to  be  half-done.  To  go  into 
the  detail  of  explaining  just  why  it  is  advised 
that  things  be  done  thus  and  so  would  involve 
unnecessary  writing  and  reading;  suffice  it  to 
say  at  this  point  that  there  have  been  and  will 
be  no  suggestions  of  a  theoretical  nature  made; 
none  that  is  unpractical,  and  none  but  those 
which  have  actually  proved  their  economic  and 
artistic  value  in  actual  practice,  in  both  large 
and  small  theatres. 

The  stage  (at  any  time  during  the  hours  of 
the  performance,  under  any  circumstances) 
should  never  be  a  gathering  place  for  "town 
folks,"  "city  friends  of  the  artists,"  "purveyors 

187 


of  wares,"  "mashers,"  or  for  any  but  tliose 
whose  duties  require  them  to  be  there.  In 
the  first  place,  visitors  are  in  the  way  and  im- 
pede the  work  of  the  crew;  in  the  second  place, 
their  presence  tends  to  lower  the  dignity,  de- 
stroy the  illusion  and  demean  the  prestige  of 
the  stage;  for  remember,  it  is  the  "masher"  and 
other  behind-the-scenes  visitors  who  have  car- 
ried to  the  w^orld  the  garbled  tales  that  have 
reflected  discredit  upon  the  people  of  the  thea- 
tre; and  in  the  third  place,  a  sand-bag,  coun- 
ter-weight, or  piece  of  scenery  dropped  on  a 
visitor  who  is  on  the  stage  with  the  manager's 
knowledge  and  consent  is  likely  to  net  a  trou- 
blesome and  expensive  lawsuit. 

Instructions  to  the  stage-manager,  and 
through  him  to  every  employee  of  the  stage, 
should  be  positive  on  this  point,  even  to  the  ex- 
tent of  forbidding  the  flyman  to  have  a  helper 
who  works  for  nothing  "to  see  the  show" — which 
is  a  common  practice  in  some  houses.  Of  course, 
if  a  back-doorman  is  employed,  these  instruc- 
tions should  be  his  guiding  rule. 

Artists  should  be  forbidden  to  stand  in  the 
wings  or  pull  back  the  drop  in  "one"  to  see  the 
show;  they  should  stay  off  stage  until  it  is  time 
to  go  on  for  their  act,  and  when  finished  should 
go  to  theii*  dressing-rooms.    There  are  the  same 

188 


reasons  for  this  rule  as  for  forbidding  visitors 
on  the  stage,  and  it  is  one  that  should  be  en- 
forced. A  sign  on  the  back  of  the  tormentors 
is  considered  advisable  in  many  theatres,  warn- 
ing acts  of  this  rule. 

The  manager  personally  should  visit  the  stage 
at  least  once  during  every  performance.  If 
he  does  this,  and  the  crew  knows  it  to  be  his 
habit,  things  will  be  done  that  otherwise  are 
likely  not  to  be. 

Stage  Equipment 

Hardware.  Emphasis  is  laid  upon  the  neces- 
sity for  thorough  equipment  for  the  stage,  both 
as  to  hardware  and  properties,  for  if  this  is  not 
complete  the  proper  presentation  of  shows  will 
often  be  seriously  handicapped.  Make-shifts 
should  not  be  resorted  to  except  in  extreme 
cases;  in  these  days  there  is  a  proper  tool,  ap- 
pliance or  property  available  for  almost  every 
practical  requirement,  and  such  should  be  pro- 
vided. 

The  list  submitted  of  essential  scenic,  property 
and  hardware  equipment  is  naturally  subject  to 
such  variation  as  local  conditions  warrant,  but 
as  made  up  is  intended  to  fit  the  needs  of  a 
first-class   vaudeville    theatre,    after    the    frame 

189 


stuff    is    all    complete   and    delivered    from   the 
studio. 


QUANTTTT 

3 

dozen 

1 

dozen 

4 

sets 

1 

dozen 

1 

dozen 

10 

pounds 

10 

dozen 

1 

dozen 

2 

dozen 

5 

dozen 

7 

dozen 

4 

Necessary 


HARDWARE 

ARTICLE 

Stage  screws. 

Pairs   hinges,   hook   pins,   back-flap,    li/^"x8j^". 

Door  knobs  and  plates,  2  each,  different  designs. 

Pairs   curtain-pole  sockets,  heavy  brass. 

Hangers,  picture   frame. 

Nails,  clout,  11/^". 

Carpet  pins 

Lashing  cleats. 

Stage  braces,  extension  from  2'  to  8',  closed. 

Profile  corner  blocks. 

Profile  keystones. 

Profile  boards,  old-time  scrimmed. 

Head  blocks,  sheaves,  curtain  lead  blocks,  tension 
pulleys,  belaying  pins,  trims,  clamps,  sand-bags, 
etc.  The  requisition  for  this  equipment  should  be 
made  for  the  hanging  stuff.  Include  in  this  order 
sufficient  3/^"  wire  messenger  cable  for  border 
lights  and  ^"  hemp  or  sisal  rope  for  other  lines. 


PROPERTIES 

QUANTITY  ARTICLE 

1  White  mantel  for  light  interiors. 

1  Dark  mantel  for  dark  interiors. 

1  Mantel    painted    into    interior    set.      These    mantels 

should  be  made  by  the  house  carpenter  of  heavier 

design    than    the    conventional    residence    mantel; 

should  sit  on  low  platforms  and  be  mounted  on 

heavy   ball-bearing   casters. 
Book    cases    (false  fronts),    finished    to    match    dark 

set;  one  5'  wide  by  6'  high,  and  one  6'9"  wide 

by  4'6"  high. 
Chairs,  kitchen. 
Table,    kitclicn,    to    be    made    by    stage    carpenter, 

strongly  braced  and  bolted,  in  the  following  sizes: 

3'6",  3',  2'6".     These  will   be  used   by  acrobatic 

and  other   acts,   and   should   be   of  very   durable 

construction. 
Wood  pedestals,  and   1   pair  tabourets,  each  pair  to 

be  of  finish   and   design  harmonizing  with  parlor 

or  interior  sets. 


190 


QCANTITT  ARTICLE 

1  set  Parlor   furniture,  upholstered  in   a  subdued   color 

with  narrow  striped  velour  or  cotton  velvet.  This 
set  should  be  in  one  particular  design,  and  con- 
sist of  divan  or  settee,  two  large  arm  chairs,  two 
small  chairs,  and  one  large  and  one  small  stand 
or  table. 

1  set  Parlor    furniture,   same   number   of   pieces,   but   of 

different  design,  upholstered  or  covered  with  dark 
figured  imported  tapestry. 

1  set  Wicker  furniture,  finished  in  light  brown  or  ivory, 

covered  with  neutral  shade  of  cretonne.  This  set 
should  include  a  writing  table  or  desk,  and  stand- 
ing floor  lamp. 

1  set  Wicker  or  rustic,   strongly   made,  finished  in   light 

or  pea  green,  consisting  of  round  table  with  um- 
brella canopy,  one  small  stand,  bench  seat  and 
three  or  four  chairs. 

3  or  4  sets  Portieres,  sufficient  pairs  of  each  color  and  design 
to  hang  at  all  openings  in  each  interior  set  ex- 
cept at  small  doors.  These  should  hang  on  lj4" 
hardwood  poles  and  be  hung  with  large,  easy-rid- 
ing brass  rings.  Poles  and  rings  should  be  hidden 
from  view  by  valance  of  same  material  as  por- 
tieres, and  of  a  depth  to  equalize  or  balance 
height  of  openings.  The  following  colors  are  sug- 
gested for  these  sets  of  portieres:  old-gold,  light 
blue,  old-rose,  mahogany  or  narrow-striped  mul- 
berry, being  sure  that  shade  of  hangings  harmon- 
izes with  color  scheme  of  the  scenery,  and  shades 
of  carpets  and  furniture  coverings. 

1  Rug,    9'xl2'    or    12'xl5'    (depending    upon    size    of 

stage),  of  Chinese  or  Persian  design,  with  dark 
shaded  background. 

6  Rugs,  small,  in  three  dififerent  sizes,  Persian  designs 

and  of  color  that  will  harmonize  with  large  rug 
and  other  stage  carpets. 
Carpet,  gray  or  old-gold,  large  enough  to  cover  at 
least  21  feet  back  of  first  entrance  of  "one"  and  4 
feet  wider  than  proscenium  opening.  Avoid  bright 
red  and  light  green;  stick  to  the  quiet,  rich,  but 
light  tones. 

1  Strip  Or  "runner"  of  carpet  one  yard  wide  and  long 

enough  to  cover  entire  width  of  stage  to  within 
two  feet  of  proscenium  arch  on  each  side.  This 
for  the  use  of  dressing,  singing  and  such  acts  in 
"one,"  and  should  be  of  same  shade  as  the  velvet 
or  velour  drop  if  the  house  is  equipped  with  one. 
Blue,  royal  purple  or  mulberry  make  very  desir- 

191 


QtrANTlTT  AHTICLE 

able  colors  for  this  use.  Bright  greens  and  reds 
should  be  avoided.  This  strip  should  be  placed  on 
stage  when  to  be  used,  by  the  property-man  or 
assistant,  in  uniform,  during  dark  change.  Should 
be  kept  rolled,  not  folded,  as  in  the  former  shape 
it  can  be  more  quickly  placed  on  stage  and  un- 
rolled. 

1  Baize  or  stage-carpet,  brown  one  side,  green  other 

side,  preferably  of  "James  Clancy"  make;  same 
width  as  stage  carpets  and  deep  enough  to  cover 
stage  from  "one"  to  back  wall.  Should  have  rings, 
one  foot  apart,  sewed  securely  half  way  in  along 
up-stage  edge  of  baize,  reinforced  with  webbing. 
This  allows  the  baize  to  be  quickly  flied  by  attach- 
ing to  screw  hooks  in  batten,  keeping  baize  off 
stage  and  cleaner,  when  not  in  use. 

1  Ground  cloth  of  waterproof  12-ounce  canvas,  same 

width  as  stage-carpets  and  of  sufficient  depth, 
with  grommets  around  all  four  sides. 

6  Sofa  pillows,  different  sizes  and  designs,  in  neutral 

shades. 

1  Lot  of  assorted  tapestry,  amure  and  silk  throws  for 

draping  in  interior  sets. 

4  Assorted    stand    covers    of    same    materials    and 

shades. 

1  Lot  artificial  flowers,  best  makes,  in  subdued  colors. 

1  Lot  assorted  vases  in  rich  and  unique  designs. 

1  Lot  of  statuary,  bric-a-brac  of  distinct  design  and 

coloring,  and  good  grade  of  ware. 

1  Set  each,  plain   linen   and  cretonne   furniture  cov- 

ers, to  fit  and  cover  each  piece  of  all  interior  sets. 

1  Lot   heavy   unbleached    muslin   sheets,    12'xl2'    and 

12'x20',  to  cover  all  furniture,  mantels  and 
props  while  on  stage  and  not  in  actual  use. 

1  Lot  grass  mats,  about  36",  assorted  sizes. 

2  Pianos,  one  grand   and  one  upright,  in  pitch  with 

orchestra,  and  to  be  moved  about  on  ball-bearing 
trucks,  and  when  not  in  use  to  be  covered  with 
rubber,  canton-flannel  lined  covers. 

A  first-class  vaudeville  theatre  should  own 
this  list  of  properties,  furniture,  carpets  and 
drapery,  when  opening.  There  will  be  many 
props  called  for  from  week  to  week  which  are 

192 


not  on  this  list,  and  will  have  to  be  borrowed. 
While  it  is  better  to  be  a  good  "borrower"  than 
an  extravagant  buyer,  it  will  be  found  much 
easier  and  cheaper  in  the  long  run  to  fill  the 
usual  weekly  wants  with  the  equipment  listed, 
than  to  trv  to  "get  bv"  with  less. 


O" 


Scenery 

The  scenic  equipment  for  a  first-class  vaude- 
ville house  is  given  in  the  following  tabulated 
list,  measurements  based  upon  a  stage  80  feet 
wide,  40  feet  deep  with  opening  30  feet  high 
and  36  feet  wdde. 

1  Asbestos  Curtain. 

1  Act  Curtain. 

1  Grand  Drapery  Border  16'x42' 

1  Working   Drapery   Border    6'x32 

2  Tormentors    '. 8'xl8 

2  Tormentor    Flippers    4'xl8 

1  LIGHT  MODERN  INTERIOR,  consisting  of 

1  Center    Door-piece,    opening    G'x9'    12'xl6 

2  Side    Arches,   openings    6'x8' 8'xl6 

2     Door   Wings,   doors   3'x7'    6'xl6 

4     Plain    Wings    6'xl6 

1     Window  Wing   (French)    6'xl6 

1  Fireplace   Wing    6'xl6 

2  Jogs 8'xl6 

2     Jogs    2'xI6 

1     LIGHT  ITALIAN  INTERIOR,  consisting  of 

1  Center    Door-piece    12'xl6 

2  Side  Arches,  openings  5'x8'   8'xl6 

2     Door  Wings,  doors  3'x7'   6x16 

4     Plain    Wings    6'xl6' 

1     Window  Wing  (French) 6'xl6 

1  Fireplace   Wing    6'xl6 

2  Jogs 3'xl6 

2     Jogs 2'xl6 

193 


1     LIBRARY  INTERIOR,  consisting  of 

1  Center   Door-piece    12'xl6' 

2  Side  Arches    8'xl6' 

2     Door  Wings 6'xl6' 

4     Plain    Wings    6'xl6' 

1     Window  Wing   (French)    6'xl6' 

1  Fireplace    Wing    6'xl6' 

2  Jogs    8'xl6' 

2     Jogs 2'xl6' 

1     OAK  OFFICE  INTERIOR,  consisting  of 

1  Center    Door-piece    12'xl6' 

2  Door  Wings 6'xl6' 

4     Plain    Wings    6'xl6' 

1     Window  Wing   (French)    6'xl6' 

1  Fireplace    Wing    6'xl6' 

2  Jogs    8'xl6' 

2  Jogs 2'xl6' 

1     PLAIN  CHAMBER  and  KITCHEN  SET  COMBINED,  con- 
sisting of 

3  Door  Wings   6'xl6' 

4  Plain  Wings 6'xl6' 

1     Window  Wing   6'xl6' 

1  Fireplace   Wing    6'xl6' 

2  Jogs    8'xl6' 

2  Jogs 2'xl6' 

1     PALACE  SET,  consisting  of 

3  Palace  Leg  Drops,  Palace  Backing  and  Balustrades. 
1  Velvet  Drop. 

1  Street  Drop. 

1     Olio  Drop    (Interior)    24'x82' 

1     Garden    Drop    24'x32' 

1     Wood  Drop 24'x32' 

1     Landscape    Drop    24'x32' 

1     Picture    Sheet 24'x32' 

8     Combination  Wood  and  Garden  Wings 6'xl6' 

With  Flippers  attached   4'xl6' 

4  Foliage  Borders    18',  15',  12',  9'x40' 

3     Light  Fancy  Borders    8'x36' 

3     Dark  Fancy   Borders    8'x36' 

3  Plain   Borders    8'x36' 

1  Hanging   Hall   Backing   82'xl6' 

4  Wood    Backings    12'xl2' 

4     Interior  Backings    (light)    12'xl2' 

4     Interior  Backings   (dark)    12'xl2' 

2  Fireplace   Backings  of  different  designs. 
1     SET  HOUSE   and  RETURN. 

1     SET  COTTAGE  and  RETURN. 

iP4 


Specifications 

Asbestos  curtain  to  be  of  proper  weight  and 
thickness  as  prescribed  by  fire  laws  or  build- 
ing codes  and  in  any  event  weighing  not  less 
than  2  pounds  to  the  square  foot. 

The  drop  curtain  shoidd  be  painted  on  best 
quality  linen  canvas;  or  a  velour  curtain  may 
be  used.  All  wings,  doors  and  set  pieces  that 
are  mounted  on  framework  to  be  painted  on 
heavy  cotton.  Drop  scenes  and  borders  to  be 
painted  on  heavy  cotton  cloth  same  weight  as 
"Indian  Head."^ 

Pai7itings  and  Colors.  The  entire  painting 
to  be  done  in  a  first-class  manner  throughout. 
All  work  to  be  executed  by  skilled  artists  as 
per  designs  and  color  schemes  shown  and 
passed  on.  Only  best  grade,  durable  colors  and 
materials  to  be  used. 

Framework.  All  framework  to  be  made  of 
good,  clear,  dry,  well-seasoned  white  pine  lum- 
ber of  appropriate  dimensions,  put  together  by 
mortise  and  tenon  with  all  needed  toggle  rails 
and  angle  braces  properly  clout-nailed  and 
joined   in   best   approved   manner.      All   wings 

195 


requiring    profile    to    be    supplied    with    same 
properly  scrinimed. 

,  Battens  for  drop  curtains,  drop  scenes  and 
borders  to  be  of  best  quality  dry  white  pine, 
surfaced  with  rounded  edges. 

Hardware.  All  doors  and  windows  to  be  pro- 
vided with  needed  hinges,  door  buttons,  fiat 
cleats,  lashing  cleats,  threshold  irons,  batten 
plates,  etc. 

Sets  and  Settings 

With  retrospective  eye,  look  back  over  the 
shows  you  have  seen,  vaudeville  and  otherwise, 
and  endeavor  to  analyze  just  how  vital  a  part 
the  stage  appointments,  settings  and  dressing 
played  in  making  them  either  "great,"  "good," 
fair,     or     poor. 

The  stage  establishes  an  illusion:  the  audience 
sits  in  a  semi-darkened  auditorium  to  see,  feel 
and  have  created  for  it  conditions  which  in- 
spire grief,  excitement,  mirth  and  other  emo- 
tions. It  follows  that  unless  there  is  a  max- 
imum of  the  "atmosphere"  tending  to  convey 
the  desired  impression,  the  illusion  will  fall  short 
of  its  intent. 

196 


How  inconsistent,  then,  are  cheap  and  tawdry 
settings  where  the  idea  is  to  create  an  at- 
mosphere of  refinement  and  elegance.  How  out 
of  keeping  with  the  intent  of  a  rapid-fire  sing- 
ing, talking  and  comedy  act  is  a  dim  or  in- 
sufficiently lighted  stage.  What  a  short-sighted 
policy  it  is  that  permits  the  use  of  the  same  set 
of  furniture  and  properties  for  practically  every 
playlet  that  is  presented  in  a  vaudeville  theatre. 
Conceive  how  ridiculous  it  must  seem  to  the  in- 
telligent audience  for  a  theatre  to  present  a 
famous  artist,  perhaps  "in  one,"  backed  by  the 
same  drop  which  earlier  has  backed  an 
acrobatic  "turn."  There  is,  perhaps,  no  fea- 
ture connected  with  vaudeville  in  the  average 
theatre,  which  deserves  more  attention,  or  in 
which  there  is  more  room  for  improvement. 

Shakespeare  said:  "The  play's  the  thing," 
and  though  this  was  many  years  ago,  the  dec- 
ades that  have  passed  have  proved  him  right 
in  the  superlative  degree.  It  matters  not  that 
the  theatre  may  be  absolutely  modern,  com- 
fortable, well-lighted,  ventilated  and  heated; 
it  matters  not  that  your  staff  is  all  that  could 
be  desired;  unless  the  show  is  "there,"  all  these 
other  things  will  not  pull  dollars  into  the  box- 
office.  In  the  final  analysis  it  will  be  the  show 
that   will   get   the  money.     All   other   features 

197 


of  operation,  all  thoughtful  courtesies  and  prac- 
tices, are  but  preliminaries;  their  purpose  is  to 
instill  into  the  patron  a  feeling  of^  friendliness 
and  satisfaction  which  will  put  him  in  a  mental 
attitude  of  greatest  receptivity;  which  will  leave 
his  mind  encumbered  by  no  angry  or  hin-t  re- 
membrance of  things  gone  wrong  in  the  proc- 
ess of  purchasing  his  tickets  and  getting  into 
the  theatre  and  to  his  seat — which  will  leave 
him  free  to  sit  back  in  comfort  and  enter  into 
the  spirit  of  the  show. 

Therefore,  let  us  consider  with  proper  ap- 
preciation of  its  importance,  the  matter  of  pro- 
viding our  show  with  the  suitable  sets,  settings 
and  "atmosphere." 

In  the  first  place,  let  it  be  said  that  too  often 
this  matter  receives  but  routine,  and  at  best, 
indifferent  attention  from  the  house  manager. 
In  the  usual  course  he  receives  the  "plots"  from 
the  artist  or  from  his  booking  office.  For  the 
uninformed,  it  should  be  said  that  these  plots, 
as  a  general  proposition,  give  the  following  in- 
formation : 

NAME  OF  THE  ACT  AND  ITS  BILLING. 
NUMBER  OF  PEOPLE  IN  THE  ACT  (men,  WOmCU)  . 
NUMBER  OF  DRESSING-ROOMS  REQUIRED. 
TIME  OF  ACT. 


198 


Scene  Plot.  Advising  if  act  works  in  "one," 
"two,"  "three,"  "full  stage,"  etc.  If  opens  in 
"one"  and  closes  "two"  or  full,  or  vice  versa, 
number  of  minutes  in  each  position.  Number 
of  lines  required  and  location.  What  scenery 
and  drops,  etc.,  carried.  What  house  scenery, 
drops,  etc.,  required. 

Prop  Plot.  Specifying  what  "properties," 
not  carried  by  the  act,  should  be  secured  by 
house  property-man.  These  should  be  ready, 
on  stage,  on  arrival  of  act.  It  is  pertinent  here 
to  say  that  acts  do  not  call  for  props  with  the 
idea  of  making  unusual  or  unnecessary  work 
for  the  property-man,  but  because  they  want 
the  props  for  use  in  their  act,  and  these  should 
be  secured. 

Light  Plot.  Specifying  electrical  and  other 
effects  desired  for  illuminating  the  act. 

Publicity  Plot.  Most  booking  offices  now 
make  it  a  practice  to  furnish  their  clients  with 
publicity  and  press  matter  concerning  the  acts 
booked.  As  this  often  contains  either  excerpts 
from  or  entire  reviews  as  published  by  the  press 
it  is  generally  quite  descriptive  of  the  act,  and 
forms  a  somewhat  dependable  means,  in  the  ab- 

199 


sence  of  other  information,  of  giving  the  man- 
ager an  accurate  idea  of  just  what  the  act  is. 

When  these  plots  are  received  they  should  be 
the  occasion  for  a  three-cornered  conference  -by 
the  manager,  stage-manager  and  property-man. 
If  the  electrical  plot  is  unusual,  the  electrician 
should  be  a  party  to  this  conference,  as  should 
any  other  employee  whose  department  may  be 
called  upon  for  unusual  effort  in  connection 
with  a  particular  show  or  act. 

A  conscientious,  earnest  effort  should  be  made 
to  study  out  a  routine  of  settings  and  sets  that 
will  provide  the  individual  acts  and  the  entire 
show  with  appropriate  surroundings;  plan  to 
avoid  waits  (where  sometimes  two  full  stage 
acts  follow),  and  to  present  the  show  in  a  man- 
ner which  will,  so  far  as  the  sets  and  settings 
are  concerned,  impress  audiences  favorably. 
There  is  such  a  thing,  in  actual  practice,  as  get- 
ting better  work  out  of  the  artist  by  giving  him 
a  setting  and  surroundings  that  inspire  him  to 
do  his  best. 

The  Stage  Setting.  The  setting  of  the  stage 
seldom  receives  from  the  property  department 
a  maximum  of  intelligent  thought  and  atten- 
tion. Consistency  in  this  department  is  in- 
deed a  jewel,  and  as  has  been  suggested  before, 

200 


it  is  unreasonable  to  expect  an  intelligent  audi- 
ence (and  these  days  audiences  are  pretty  wise) 
to  give  serious  thought  or  approval  to  a  play- 
let offered  in  a  setting  equipped  with  broken- 
down,  dilapidated  and  dingy  fin*nishings  when 
the  synopsis  indicates  that  the  action  takes  place 
in  a  palatial  residence.  And  the  hump-backed, 
broken  lounge,  or  the  rickety  chair  or  table  has 
too  often  caused  things  to  occur  in  an  act  which 
were  never  designated  as  "business"  in  the 
script. 

Therefore,  see  to  it  that  the  props  are  in 
keeping  with  the  intent  of  the  action.  A  has 
the  old  decrepit  and  funny-looking  imitation- 
marble  clock  on  the  dirty,  dingy  mantel;  away 
with  the  ancient  chromo  in  the  dusty,  dull  and 
nicked  frame;  abolish  the  venerable,  time-worn, 
discouraged  artificial  palms  that  have  for  so 
long  occupied  posts  of  honor  perched  atop  the 
soiled  and  ancient  pedestals,  where,  even  to  the 
hundredth  time,  the  audiences  look  at  them  again 
and  again;  junk  the  dejected,  lifeless  old  imita- 
tion-leather lounge  with  the  fringe  of  hair  pro- 
truding from  broken  places  in  its  upholstering; 
scrap  the  gangly-legged  chair,  the  dirty  table- 
cloth, and  all  such  things.  Replace  them, 
either  by  purchase  or  by  a  borrowing  arrange- 
ment   with    a    real    furniture    store,    and    the 

201 


money,  effort  and  trouble  thus  expended  will 
be  amply  repaid  to  you  through  the  box-office. 
Paint  the  tabourets,  pedestals,  mantels  and  such 
fixtures;  brighten  up  the  statuettes  with  a  coat 
of  paint  or  varnish;  send  the  portieres  to  the 
cleaner,  and  generally  refresh  things,  and  then 
KEEP  THEM  SO.  Do  not  permit  attention  to  this 
feature  of  your  shows  to  relax  a  moment. 

Care  should  be  taken  that  all  furniture  is 
thoroughly  wiped  before  being  placed  in  the 
set ;  the  front  row  audience  can  see  dust  and  dirt. 
Artificial  flowers  of  the  better  quality,  in  real 
vases  and  displayed  with  good  taste  and  in  not 
undue  profusion,  add  much  to  the  general  ef- 
fect. 

Choose  picture  frames  with  an  idea — not  to 
their  cheapness,  but  to  their  actual  utility  as  one 
of  the  features  of  the  "stage  picture." 

Hangings  in  good  taste,  blending  in  harmony 
with  the  general  color  scheme,  offer  an  oppor- 
tunity for  pleasing  embellishment. 

If  acts  working  "in  one"  and  using  a  grand 
piano  call  for  a  setting,  furnish  it  in  good  taste, 
using  piano  lamp,  settee,  floor  flower-stand,  flow- 
ers, etc. 

Change,  add  to  and  keep  alive  the  stock  of 
bric-a-brac,  and  when  placing  it  in  sets  see  that 

202 


good  judgment  is  exercised.  Strive  for  the  ul- 
timate in  good  taste. 

In  hanging  of  portieres,  a  valance  should  be 
used,  covering  the  pole  and  top  of  arch.  Three 
or  four  complete  sets  of  portieres,  with  valances 
to  match,  should  be  part  of  the  stage  equip- 
ment. Valances,  pleated  and  plain,  with  or 
without  galoon  braid,  are  all  attractive,  and  this 
variety  should  be  on  hand.  The  customary  red 
and  green  hangings  should  be  avoided;  the  new 
shades  of  blue,  mulberry,  old-rose,  old-gold,  ma- 
roon and  royal  purple  in  the  newer  fabrics  are 
well  worth  their  cost  when  investing  in  portieres. 

Observe  carefully  that  there  is  harmony  in 
the  color  scheme  of  the  scenery,  carpets  and 
draperies;  avoid  the  rather  frequently  encoun- 
tered combination  of  a  green  carpet,  red  up- 
holstered furniture,  old-rose  hangings  and  per- 
haps a  blue  rug  or  tw^o. 

Observe  this  point  also  as  to  furniture:  never 
set  an  interior,  for  instance,  with  a  mahogany 
piano,  white  enamelled  tabourets,  oak  table  and 
mission  settee.  If  part  in  mission,  then  all  so. 
If  part  mahogany,  then  all  so,  except  for  va- 
riations that  are  in  good  taste.  If  a  set  is  in 
Louis  XV,  or  Jacobean  or  Colonial,  or  any 
other  special  or  period  furniture,  stick  to  it 
consistently   for   that   particular   set.     And,   in 

203 


this  connection,  do  not  set  a  sketch  the  plot  of 
which  indicates  action  taking  place  in  the  winter, 
with  curtains  and  drapes  of  light  and  airy  cre- 
tonne. 

It  is  often  the  case  that  managers  fail  to 
realize  that  the  "sketch,"  its  plot,  title  and 
cast,  change  with  every  new  one  that  comes;  at 
least  one  would  so  judge,  because  through  a 
whole  season  every  act  of  this  type  will  be  pre- 
sented in  the  same  old  "set,"  with  the  same  old 
furniture  and  props,  and  often  season  after 
season. 

It  is  urgently  recommended  that  a  theatre 
should  not  start  its  season  with  one  or  two  in- 
terior sets;  it  should  by  all  means  possess  three 
or  four,  but  at  the  very  least  two  light-toned 
and  one  sombre,  or  dark  and  heavy,  not  includ- 
ing plain  chamber  or  kitchen  sets. 

Periodically,  and  not  less  often  than  at 
the  close  of  each  season,  these  sets  should  be 
repainted,  changing  the  designs  and  colors. 
This  can  be  accomplished  at  a  comparatively 
insignificant  cost  by  arranging  for  a  scenic 
artist  to  come  to  the  theatre  to  do  the  work,  in- 
stead of  shipping  the  scenery  to  a  studio. 

The  crew  should  be  thoroughly  trained  in 
making  sets.  Lack  of  careful  and  sufficient 
bracing  at  doors,  so  that,  when  a  door  is  opened 

204 


or  closed,  the  entire  side  of  the  scene  waves  diz- 
zily about  as  if  struck  by  a  cyclone,  indicates 
incompetency. 

All  joints  on  interior  sets  should  be  tightly 
lashed.  If  the  sides  do  not  meet  perfectly,  it 
may  be  due  to  stile  warpage,  which  should  have 
attention  from  the  stage  carpenter.  There 
should  be  no  open  cracks  between  pieces,  such 
as  can  be  seen  from  the  audience,  or  through 
which  streaks  of  light  show.  It  is  somewhat  dis- 
concerting to  a  person  watching  a  sketch  to  see 
an  individual  on  the  stage  behind  one  of  these 
cracks,  using  it  for  a  peep-hole;  or  to  have 
a  ray  of  light  from  back  stage  shining  through 
it  while  the  action  on  the  stage  is  in  semi-dark- 
ness. Such  things  destroy  the  artistic  value  of 
the  setting,  and  distract  attention  from  the  play- 
er's efforts. 

Dressing-Rooms 

There  are  a  few  things  to  be  borne  in  mind 
in  connection  with  this  section  of  the  theatre. 
In  the  first  place,  it  should  be  remembered  that 
the  actor  is  subject  to  the  same  influences,  weak- 
nesses and  sensations  as  affect  other  human  be- 
ings. There  is,  however,  this  exception,  that  the 
artist  is,   as  a   rule,   prone   to  be  just  a  little 

205 


more  grateful  for  small  attentions  than  is  any 
other  class,  and  more  quickly  responds  to  cheer- 
ful, comfortable  environment.  Perhaps  this  is 
because  in  the  past  it  has  often  been  the  cus- 
tom of  the  management  to  be  indifferent  to  the 
personal  comfort  and  convenience  of  artists. 

The  success  or  failure  of  an  act  often  de- 
pends upon  that  indefinable  quality  known  as 
"personality."  It  follows  that  to  get  his  act 
"over"  with  maximum  results  the  artist  must  be 
in  good  humor  with  himself,  the  management 
and  his  audience.  Nothing  which  can  influence 
him  in  this  direction  is  unimportant.  The  artist 
is  the  backbone  of  a  theatre's  success — to  him, 
finally,  passes  the  entire  responsibility  for  mak- 
ing the  show  a  hit,  a  mediocre  success  or  a  fail- 
ure. Therefore  his  comfort  while  he  is  in  the 
theatre  should  be  looked  to  with  care. 

Too  often  theatres  are  built  without  refer- 
ence to  the  necessity  for  clean,  airy  and  reason- 
ably roomy  quarters  for  the  artists. 

If  the  theatre  is  already  built,  the  manager 
will  have  to  get  along  with  dressing-rooms  as 
arranged,  but  they  can  be  kept  clean,  well 
lighted,  warm  and  cozy.  If  they  are  now  dark, 
dingy  and  dirty,  that  condition  can  be  changed 
and,  take  the  author's  word  for  it,  money  thus 

206 


spent  will  prove  to  have  been  profitably  in- 
vested. 

Dressing-rooms  should  be  finished  in  light 
color,  should  have  ample  lights  and  a  clean 
plate-glass  mirror,  even  if  small,  rather  than  a 
wavy,  dirty  and  cracked  one.  There  should 
be  an  outlet  which  will  permit  the  use  of  an 
electric  iron,  and  the  theatre  should  have  such 
an  iron  available  and  encourage  its  use  by  the 
artists.  A  little  cin*rent  and  a  five-dollar  iron, 
coupled  with  an  invitation  to  use  both,  may 
mean  a  considerable  difference  in  the  appear- 
ance of  an  artist's  wardrobe — and  if  the  man- 
ager is  not  interested  enough  to  provide  the 
facilities,  can  it  be  reasonably  expected  that 
the  artist,  at  considerable  personal  expense  and 
inconvenience,  shall  have  his  clothes  pressed 
daily?  ^  fl**  ] 

Above  all,  the  dressing-rooms  should  be 
CLEAN.  A  good-sized  rug  should  be  provided  for 
the  floor,  bearing  in  mind  always  that  scantily 
clad  men  and  women  will  be  using  these  quar- 
ters. The  rooms  should,  therefore,  not  be  the 
habitat  of  cockroaches,  rats,  and  other  vermin. 
It  will  prove  wxll  worth  the  trouble  and  expense 
if  they  are  kept  clean  and  comfortable,  warm  in 
winter  and  cool  in  summer. 

207 


As  a  rule,  the  multiplicity  of  signs  that  often 
clutter  dressing-rooms  and  hallways  are,  to  say 
the  least,  of  doubtful  value.  If  it  is  desired  that 
there  shall  be  notices  on  the  stage  directing  the 
artist  where  to  eat,  which  drug  store  handles 
make-up  material,  etc.,  etc.,  then  it  is  best  to  fix 
up  a  regular  bulletin  board  for  this  purpose, 
on  stage,  and  posted  close  to  the  official  call- 
board  of  the  house. 

Artists  now-a-days  know  that  it  is  a  violation 
of  their  contract  to  appear  at  a  club  or  any 
place  in  the  city  other  than  the  theatre  being 
played;  they  know  that  smoking  is  forbidden  on 
the  stage  and  in  dressing-rooms,  usually  by  city 
ordinances,  as  well  as  by  common  practice,  and 
the  tendency  to  have  too  many  signs,  notices 
and  instructions  posted  serves  to  annul  the  ef- 
fectiveness of  all. 

This  sign,  posted  conspicuously,  is  suggested 
as  meeting  all  needs: 

Notice  to  Artists 

This  is  a  reputable  theatre  or  you  would  not 
play  it.  Your  reputation  as  an  artist  is  in  keep- 
ing with  the  traditions  of  the  profession  or  you 
would  not  have  been  hooked.  The  management 
expects,  therefore,  that  you  will  govern  your  ac- 

208 


tio7is  here  hy  those  well-kvown  rules  which  cus- 
tom has  established.  Your  failure  to  do  so  xmll 
result  in  immediate  cancellation  of  your  act  and 
a  full  report  on  the  matter  to  our  booking  con- 
nection. 

The  Management. 

In  the  event  that  the  reader  is  planning  the 
erection  of  a  theatre,  it  is  urgently  recom- 
mended that  he  take  note  of  the  following 
points  for  consideration  in  the  construction  of 
the  dressing-rooms: 

Size.  8  feet  by  10  feet  at  least;  9  feet  by  12 
feet  or  larger  if  possible,  and  there  should  be  at 
least  two  rooms  12  feet  by  18  feet  or  larger  for 
troop  or  "girl"  acts.  Ten  rooms  will  ordinarily 
be  sufficient,  though  if  twelve  can  be  provided  it 
is  advisable  to  have  that  number. 

Lighting  should  be  ample,  it  being  remem- 
bered that  the  artist  "makes  up"  to  appear 
before  very  bright  foot  and  spotlights,  which 
will  show  up  poor  "make-up"  resulting  from 
insufficiently  lighted  dressing-rooms.  An  out- 
let should  be  provided  at  each  side  of  the 
dressing  mirror,  and  one  or  two  at  the 
top.      Or    an    improved    manner    of    lighting 

209 


the  artist's  face  and  giving  better  re- 
sults in  making-up  is  the  following  arrange- 
ment: Attach  to  each  side  of  the  mirror  frame 
for  the  full  length  of  glass,  a  three-quarter 
round,  3  inches  in  diameter,  metal  trough  to  con- 
tain 15- watt  lamps  connected  about  7  inches 
apart  from  bottom  to  top  of  trough;  the  trough 
to  be  painted  two  coats  of  flat  white  inside,  and 
outside  to  be  painted  same  color  as  mirror 
frame,  both  of  which  should  match  dressing- 
room  walls.  This  method  of  lighting  will  throw 
light  direct  on  the  artist's  face  and  afford  much 
better  illumination  for  details  of  make-up. 
There  should  also  be  an  outlet  for  plugging  in 
electric  iron,  and  curling-iron  heater,  also  fan 
outlet. 

Ventilation.  All  that  the  lay-out  and  con- 
struction will  permit;  windows  of  opaque  or 
wire-glass  where  possible  and  if  it  is  proposed 
to  operate  during  summer,  electric  fans  should 
be  provided. 

Hot  and  Cold  Water  should  both  be  pro- 
vided, with  a  substantial  lavatory,  clean  and 
sanitary. 

Make-up  Shelf.  18  inches  wide,  31  inches 
from  the  floor  and  6  feet  long  with  two  mirrors. 

210 


plate  glass,  about  18  inches  by  24  inches.  In  the 
large  "troop"  rooms  these  shelves  should  be  cor- 
respondingly longer  and  have  the  number  of 
mirrors  increased  to  about  four  for  each  shelf. 
At  least  one  full-length  mirror  should  be  pro- 
vided, preferably  where  all  the  artists  can  use  it. 

Wardrobe  Hooks.  6  feet  from  the  floor,  10 
inches  apart,  all  around  wall  except  where  would 
come  over  dressing  shelf  or  lavatory. 

Chairs.  Two  substantial  dining  or  bentwood 
chairs  to  each  of  the  smaller  rooms  and  about 
eight  for  the  larger  rooms. 

In  General.  The  doors  should  be  provided 
with  good  locks,  for  which  keys  should  be 
tagged  after  the  fashion  of  hotel  keys.  There 
should  be  two  or  more  toilets  provided;  prefer- 
ably in  separated  locations,  one  exclusively  for 
"women"  and  the  other  for  "men.^^  If  the 
building  plans,  plot  and  space  available  can 
be  made  to  provide  it,  there  should  be  one  or 
two  dressing-rooms  on  stage  level;  not  with  the 
idea  that  they  are  for  "stars"  so  much  as  to 
take  care  of  the  act  which  has  to  make  one  or 
many  quick  changes  of  costume  during  the  show. 
In  addition  to  dressing-rooms  located  on  stage,  a 

21] 


portable  dressing-room  should  be  provided.  This 
should  be  about  7  feet  by  7  feet,  collapsible 
frame  covered  with  heavy  denim  and  arranged 
to  fly  back  to  wall  when  not  in  use.  Doors  to 
dressing-rooms  should  be  not  less  than  34  inches 
^\ide,  to  allow  for  admission  of  large  trunks. 
Rooms  should  be  numbered,  and  a  suitable 
board,  Mith  numbered  hooks,  should  be  pro- 
vided on  stage  where  artists  are  expected  to 
hang  keys  when  leaving  theatre,  A  switch 
which  will  turn  off  all  lights  in  the  dressing- 
room  should  be  located  close  to  the  door  in  a 
convenient  place  to  be  turned  off  and  on  as 
artist  leaves  or  enters  dressing-room.  A  small 
card  above  switch  reading  "please  turn  off 
LIGHTS  ON  LEAVING  room"  will  rcsult  in  the  sav- 
ing of  much  current.  Rugs  of  proper  size,  which 
can  be  removed,  beaten  and  sunned  weekly, 
should  be  provided  in  each  room. 


212 


CHAPTER   IV 

ADVERTISING   AND    PUBLICITY 

HE  would  be  a  brave  individual  indeed 
who  assumed  to  "know  it  all"  concern- 
ing this  vast  and  complicated  subject. 
No  person  has  become  master  of  advertising 
and  publicity,  for  the  reason  that  human  in- 
genuity is  constantly  creating  new  ideas  and 
practices.  However,  certain  methods  of  ad- 
vertising which  have  been  tried  and  found  suc- 
cessful may  be  briefly  outlined  and  discussed. 

No  form  of  enterprise  is  more  dependent 
upon  advertising  than  is  the  theatre;  publicity 
is  the  breath  of  its  life  and  is  vital  to  its  suc- 
cess. 

Advertising,  as  it  is  generally  understood,  is 
the  art  of  selling  by  means  of  publicity;  but 
advertising  does  not  consist  merely  of  the  use 
of    newspapers,    bill    boards,    window-displays, 

213 


etc.  Advertising  from  the  theatrical  point  of 
view  embraces  everything  that  may  attract  at- 
tention; and  the  best  and  most  effective  is  "by 
word  of  mouth."  The  unsolicited  praise  of  a 
pleased  patron,  given  because  he  has  been  gen- 
uinely entertained  and  gratified,  is  actually 
priceless;  it  is  sincere,  unquestionable  as  to  mo- 
tive, and  immediately  productive  of  results. 
If  a  theatre  could  uniformly  present  shows 
which  caused  everyone  seeing  them  to  urge  his 
friends  to  do  likewise,  other  advertising  would 
be  superfluous.  Every  effort  should  be  made 
to  impress  the  patron  favorably,  not  only  with 
the  show  itself,  but  as  well  with  the  treatment 
accorded  him  by  the  staff,  with  the  comforts  of 
the  house  and  the  little  attentions  and  court- 
esies provided  by  a  thoughtful  management. 
An  usher  who  is  impudent  is  an  adverse  ad- 
vertisement; a  treasurer  who  is  pleasant  is  a 
favorable  one. 

Some  men  are  born  advertisers;  they  see  pos- 
sibilities in  the  most  trivial  things  and  take  ad- 
vantage of  them.  It  is  not  always  the  "big 
city"  manager  who  gets  the  best  results;  fre- 
quently the  most  effective  advertising  is  done 
by  the  manager  with  a  small  house  in  a  small 
town.  Results,  and  results  only,  indicate  the 
value  of  the  methods  adopted. 

214 


Coupled  with  every  form  of  advertising,  and 
making  it  effective,  must  be  the  value  behind 
the  advertising;  no  amount  of  money  spent,  no 
cleverness  in  attracting  attention,  no  happily- 
conceived  schemes,  will  avail  if  there  be  nothing 
to  substantiate  the  claims  made.  Every  fac- 
tor in  the  actual  operation  of  the  theatre  must 
support  the  advertising.  Xo  one  can  fool  all 
the  people  all  the  time,  and  while  clever  pub- 
licity may  induce  an  initial  visit  to  a  theatre, 
there  will  likely  be  no  second  visit  if  the  ad- 
vertising proves  misleading  or  palpably  false. 
The  vaudeville  theatre  differs  in  no  respect 
from  any  other  extensively  advertised  product 
or  service,  and  no  advertising  will  continue  to 
sell  an  inferior  product  or  service. 

Therefore,  the  super-superlative,  even  the  su- 
perlative, should  be  avoided,  in  describing  the 
show,  act  or  theatre,  unless  it  be  really  super- 
lative. The  attractive  presentation  of  the  truth 
is  the  best,  indeed  the  only,  policy  to  pursue. 

Newspapers 

Two  classes  of  newspaper  advertising  or  pub- 
licity are  considered.  First,  display  advertis- 
ing; second,  readers,  criticisms,  special  stories, 
etc. 

215 


Display  Advertising  in  the  daily  papers  is, 
by  proved  practice,  one  of  the  most  effective 
forms  of  establishing  and  maintaining  patronage 
for  a  theatre.  But,  the  newspaper  advertisement 
fills  only  one  field;  it  does  not  cover  the  entire 
needs  of  the  theatre;  other  forms  of  advertising 
are,  in  their  way,  and  considering  their  cost, 
just  as  essential  and  proportionately  valuable. 

No  rule  as  to  the  amount  of  space  which 
should  be  used  can  be  laid  down,  as  local  con- 
ditions, advertising  tariffs,  established  customs 
and  individual  preferences  would  subject  any 
such  rule  to  too  much  variation.  With  refer- 
ence to  the  amount  of  space  to  be  used,  it  is 
suggested  that  only  needlessly  costly  results 
come  from  a  competition  between  theatres  as  to 
which  will  use  the  most,  and  that  the  standing 
of  a  theatre  or  the  merit  of  its  attractions  is  in 
no  wise  indicated  to  the  public  by  the  use  of 
more  space  than  is  legitimately  necessary  to  dis- 
play its  advertisement  effectively. 

It  is  quite  true  that  in  a  general  way  a  large 
display  is  more  effective  than  a  small  one,  but 
this  does  not  mean  that  a  quarter-page  will 
actually  bring  more  business  to  the  box-office 
than  an  eighth ;  in  fact,  the  eighth  if  better  writ- 
ten and  displayed,  will  get  as  much  or  more.  On 
the  other  hand,  a  "flash"  now  and  then,  to  cover 

216 


an  extra  strong  bill  or  act,  has  proved  worth 
the  additional  cost  in  numberless  instances.  The 
guiding  rule  should  be  that  the  amount  of  space 
be  governed  by  real  needs,  without  respect  to 
what  the  "other  fellow"  thinks  he  needs,  or 
uses. 

The  accepted  practice  is  to  run  a  larger  ad- 
vertisement than  usual  on  Sundays.  There  are 
several  reasons  for  this.  Usually  papers  devote 
a  page  or  more  in  their  Sunday  issues  to  the- 
atrical news  and  features;  this  serves  to  con- 
centrate the  attention  of  the  reader  upon  affairs 
theatrical,  and  it  is  well  to  impress  upon  him, 
while  he  is  in  this  mood,  the  attractiveness  of 
a  certain  theatre  and  show.  Readers  have,  as 
a  rule,  more  time  on  Sundays  to  peruse  their 
papers,  hence  a  more  detailed  description  of 
the  show  is  advisable. 

If  a  limited  space  is  used,  it  should  never 
be  crowded  with  matter  set  in  small  type;  for 
the  busy  reader  will  "pass  it  up."  It  is  better 
to  err  on  the  side  of  brevity  than  of  detail. 

Plain,  readable,  boldly  stated  facts,  set  in 
striking  fonts  of  type,  should  be  the  form  used; 
borders  that  will  make  the  display  "stick  out" 
are  desirable;  also  a  heading  that  will  dis- 
tinguish the  advertisement  from  all  others  on 
the  page  the  minute  the  reader's  eye  turns  to 

217 


that  sheet,  and  if  possible  a  certain  fixed  po- 
sition in  each  issue  of  the  paper. 

The  use  of  a  catchline  or  slogan  is  very  de- 
sirable— BUT  unless  it  is  original  and  means 
SOMETHING,  it  is  better  left  out. 

Every  advertisement  should  include  the  start- 
ing time  of  shows,  the  telephone  number  of  the- 
atre, and  (in  the  larger  cities)  its  street  address. 

As  a  general  proposition,  it  will  be  found  that 
newspapers,  where  more  than  one  is  published 
in  a  city,  are  very  sensitive  to  and  resentful 
of  a  larger  space  being  used  in  one  than  in 
another.  Advertising  rates  are  based  upon  cir- 
culation, and  usually  they  are  higher  for  a 
theatre  than  for  a  merchant.  It  is  the  writer's 
experience  that  the  best  and  soundest  practice 
is  to  give  to  every  paper  the  theatre  regularly 
uses  the  same  sized  advertisement.  Usually 
papers  will  not  expect  that  the  money  expendi- 
ture with  each  shall  be  the  same,  but  that  the 
amount  of  space  used  in  each  shall  be. 

In  the  choice  of  publications  to  be  used,  it  is 
suggested  that  every  daily  paper,  except 
of  course  in  a  city  like  New  York  or  Chicago, 
where  there  are  such  a  great  number,  should 
be  patronized;  not  only  for  the  reason  that 
each  has  its  more  or  less  loyal  followers,  but  as 
well  because,  despite  duplicated  circulation,  it 

218 


has  proved  worth  while  to  reach  the  reading 
public  as  often  and  from  as  many  different 
angles  as  is  practicable.  Then,  too,  there  is  the 
matter  of  being  upon  a  friendly  footing  with 
all  of  the  papers — an  important  thing. 

While  all  the  publicity  that  can  be  secured 
is  desirable,  weekly  and  semi-weekly  papers 
devoted  to  special  interests  are  likely  to  be  du- 
plicated circulation  to  a  class  of  readers  who 
look  to  the  daily  papers  for  their  theatrical  in- 
formation. There  is  no  end  to  the  number  of 
mediums  that  can  be  used,  but  unless  a  good  deal 
of  money  is  to  be  wasted,  these  should  be  care- 
fully chosen  and  their  value  thoroughly  analyzed. 

Except  when  the  primary  idea  is  to  cultivate 
the  friendship  of  some  individual  or  institution, 
the  purchase  of  space  in  special  programs,  as 
for  fairs,  auto  shows,  bazaars,  high  school  mag- 
azines, etc.,  should  be  discouraged,  as  all  of  this 
type  of  advertising — considered  merely  as  such 
— is  not  worth  what  it  costs.  If  it  is  known 
that  the  theatre  is  a  "live  prospect"  for  this 
type  of  stuff,  many  hundreds  of  dollars  may  be 
wasted  on  it  during  a  season. 

It  is  splendid  practice  to  adopt  at  the  be- 
ginning of  a  season  a  schedule  to  govern  the 
amount  of  display  space  that  will  be  used  and 
covering  other  advertising  that  is  to  be  done,  to 

219 


make  an  appropriation  for  this,  and  then 
STICK  to  the  schedule  or  budget,  as  laid  out. 
It  goes  without  saying  that  this  should  be  based 
upon  a  careful  and  thorough  study  of  the  situa- 
tion, needs  of  the  house  and  the  local  conditions 
as  to  opposition,  etc. 

Advertising  should  not  be  spasmodic,  twenty 
inches  one  day,  four  the  next,  and  then  per- 
haps but  one,  with  an  idea  of  economy  to  make 
up  for  the  "flash";  this  policy  has  proved  wrong 
in  practice.  Better  the  consistent,  continuous 
policy,  with  deviation  therefrom  only  in  the 
EXCEPTIONAL  casc,  with  something  really  excep- 
tional as  a  reason  for  it.  Guard  against  a  "penny 
wise  and  pound  foolish"  policy  in  purchasing  ad- 
vertising; provide  liberally  but  wisely  for  this 
department,  and  avoid  waste. 

In  making  contracts  with  the  papers  cover- 
ing the  amount  of  space  to  be  used  during  a  cer- 
tain period,  care  should  be  taken  not  to  bind 
oneself  to  use  more  than  will  be  needed,  simply 
to  get  the  lowest  rate.  It  is  customary  to  make 
a  rate  for  the  use  of  say  a  thousand  lines  or 
inches  durnig  a  certain  period,  and  if  there  is 
a  lower  rate  for  two  thousand  lines  or  inches, 
and  the  theatre  uses  the  greater  amount,  the 
lower  rate  will  apply  to  all  space  used.  If  this 
is  not  the  custom  in  a  particular  city,   at  the 

220 


time  of  making  contracts  a  stipulation  may  be 
inserted  providing  that  if  more  space  than  is 
called  for  by  the  contract  is  used  by  the  ad- 
vertiser, the  lower  rate  shall  apply  to  the  en- 
tire contract. 

In  newspaper  parlance  an  "inch"  means  one 
inch  deep  by  one  column  wide,  and  a  "line" 
means  an  agate  line  one-fourteenth  of  an  inch 
deep,  one  column  wide.  Thus  it  is  seen  that 
where  the  line  rate  is  quoted,  the  inch  rate  may 
be  found  by  multiplying  by  fourteen. 

Contracts  should  not  be  hastily  entered  into; 
everything  should  be  clearly  stipulated  for  the 
protection  of  both  parties. 

For  instance,  some  papers  agree  that  for 
every  inch  of  display  used,  an  inch  of  free  read- 
ers will  be  given.  If  this  is  the  policy,  it  should 
be  so  stated  in  the  contract;  the  management 
of  the  paper  may  change,  and  if  these  things  are 
a  matter  of  record  the  likelihood  of  misunder- 
standings is  obviated. 

Copy  should  be  handed  in  promptly,  for  a 
paper  cannot  be  expected  to  keep  its  forms 
waiting.  The  manager  should  be  posted  as  to 
the  hours  when  the  forms  are  "locked,"  and 
should  understand  that  if  his  copy  is  late  he  will 
forfeit  his  right  to  a  preferred  position.  The 
composing  room  of  a  newspaper  is  operated  on 

221 


a  strict  schedule,  and  habitually  late  arrival  of 
copy  is  likelj^  to  create  a  distaste  for  handling 
it,  with  the  result  that  it  may  be  carelessly  set- 
up, blurred  and  possibly  full  of  typographical 
errors,  unavoidable  in  the  rush  to  get  it  in  at 
all.  An  occasional  visit  of  the  manager  to  the 
"ad  alley"  will  do  no  harm  if  made  in  the  slack 
hours,  and  by  taking  into  consideration  the  per- 
sonal and  human  element,  he  will  find  the  in- 
creased interest  felt  in  him  and  his  house  by  the 
men,  from  the  foreman  to  the  "devil,"  a  val- 
uable asset. 

A  display  should  not  be  bizarre,  or  freakish. 
It  should,  however,  have  a  "punch"  and  should, 
in  homely  phrase,  "stick  out  like  a  sore  finger." 
Copy  should  be  clean-cut,  original  and  in  good 
taste.  If  there  is  a  decided  difference  in  the 
style  of  make-up  of  and  in  the  class  of  readers 
appealed  to  by  various  papers  in  a  city,  the 
copy  should  be  adapted  to  the  particular  style  of 
each  paper,  conservative  for  the  more  staid  and 
less  so  for  the  more  "popular"  appeal,  with, 
however,  due  regard  always  for  truth  and  good 
taste.  It  is  wise  to  head  the  display  with  a 
cut  or  block,  the  consistent  use  of  which  identi- 
fies the  theatre's  advertisement  at  once.  Space 
costing  a  dollar  an  inch  should  be  made  to 
earn  ten. 

222 


Criticisms,  Special  Stories,  Reviews.  The- 
atrical matters  are  of  interest  to  the  general 
public — this  is  recognized  by  the  progressive 
newspaper,  and  most  of  them  are  not  only 
willing,  but  eager  to  publish  such  items  as  have 
legitimate  news  or  feature  value.  But  it  should 
be  borne  in  mind  that  the  fantastic  and  unbe- 
lievable, the  hackneyed  story  (such  as  the  time- 
worn  fable  concerning  theft  of  the  leading  lady's 
jewels)  and  the  glaringly  inconsistent  one  will 
probably  be  rejected  by  the  editor  of  any  well- 
conducted  newspaper. 

If  repeated  efforts  have  been  made  to  "put 
over"  this  sort  of  story,  the  editor  will  probably 
grow  distrustful  of  all  matter  submitted  by  the 
theatre,  and  be  inclined  to  throw  it  out  with- 
out even  a  reading.  Editors  are  sufficiently 
human  to  resent  having  anything  "put  over" 
on  them  and  will  make  entree  to  their  reading 
columns  very  difficult  for  the  ill-advised  man- 
ager or  press-agent  who  tries  to  plant  "dog- 
stories,"  as  they  are  commonly  known.  It  is, 
also,  a  question  whether  such  stuff  has  any 
weight  with  readers;  so  much  has  been  written 
concerning  the  theatre  that  the  general  public 
is  fairly  well-informed  as  to  the  tricks  of  press- 
agents.  The  confidence  of  editors  should  be 
secured  by  the  submission  of  nothing  but  legit- 

223 


imate  stuff,  for,  once  lost,  this  confidence  is  very 
difficult  to  regain. 

Timely  stories  concerning  the  activities  of  the 
theatre,  improvements  contemplated  or  being 
made,  changes  in  the  major  positions  in  the 
staff,  little  "human  interest"  stories  about  the 
artists,  and  specials  concerning  headline  or  other 
acts  are  usually  very  acceptable  to  papers. 

Naturally,  the  showing  given  to  such  stories 
must  depend  upon  their  relative  importance  to 
the  day's  news.  Frequently  a  rush  of  vitally 
interesting  happenings  in  the  world's  affairs 
will  crowd  out  a  theatre  story.  This  is  not  a 
reason  for  the  manager's  assuming  that  the  pa- 
per is  discriminating  against  him;  the  exercise 
of  a  little  common-sense  will  show  him  that  the 
editor  is  rimning  a  newspaper,  not  a  theatre, 
and  that  it  is  the  first  and  foremost  duty  of  a 
newsj^aper  to  present  the  important  news  as 
quickly  as  possible.  That  is  what  the  public 
demands  and  what  the  editor  must  give.  The 
"killed"  story  may  be  good  for  use  on  some 
other  occasion,  or  very  probably  the  editor  will 
take  pains  to  make  extra  space  for  another  story 
in  a  future  issue  less  crowded  with  news  fea- 
tures. 

The  practice  of  newspapers  in  "reviewing" 
shows  should  receive  every  encouragement  from 

224 


managers.  This  gives  the  public  disinterested 
information  as  to  the  merit  of  attractions,  and 
while  it  is  true  that  the  review  is  not  always, 
perhaps  rarely,  as  good  as  the  manager  thinks 
it  should  be,  it  is  the  writer's  observation  that 
the  press  tries  to  be  absolutely  fair,  and  this  is 
all  that  can  or  should  be  expected.  In  fact, 
the  manager  on  friendly  terms  with  the  paper 
sometimes  receives  a  shade  the  best  of  it. 

The  critic  should  be  seated  in  a  favorable  lo- 
cation, should  be  supplied  at  once  with  a  pro- 
gram, and  if  he  wishes  to  interview  any  of  the 
artists,  should  be  afforded  every  facility  for 
doing  so. 

"Timely"  interviews  are  of  interest  and  can 
usually  be  arranged  if  there  is  an  artist  on  the 
bill  with  something  interesting  to  say.  With 
the  co-operation  of  the  society  editor,  interest- 
ing stories  or  interviews  can  be  secured  with 
feminine  headliners ;  the  sporting  editor  can  now 
and  then  use  something  in  connection  with  an 
act  which  has  a  record  in  this  field. 

It  is  sometimes  the  case  that  papers  will  ac- 
cept a  review  written  by  manager  or  press- 
agent  of  a  theatre;  this  privilege  will  be  ulti- 
mately withdrawn  by  any  reputable  paper, 
if  it  is  found  that  the  reviews  are  not  reason- 
ably  accurate  and  in  keeping  with   the   facts. 

225 


The  wisest  plan  to  follow  in  these  circum- 
stances is  one  of  conservative  praise  for  the 
show  with  special  mention  of  such  acts  as  ac- 
tually have  gone  well  with  the  audience;  ful- 
some and  exaggerated  praise  should  by  all 
means  be  avoided,  for  a  public  cannot  be  con- 
tinually exploited  by  such  means.  After  one 
or  two  experiences  with  reviews  found  to  be  at 
variance  with  the  facts,  a  general  distrust  of  all 
reviews  is  engendered  in  the  mind  of  prospec- 
tive theatre-goers.  If  a  theatre  have  the  repu- 
tation of  presenting,  week  in  and  week  out, 
shows  of  a  high  average  of  excellence,  there  is 
no  need  for  these  futile  efforts  to  fool  the  public. 
The  public  is  impressed,  not  only  by  the  in- 
cident of  the  moment,  but  by  the  molding 
process  continued  through  a  long  period  of  con- 
sistent effort.  The  impression  gained  from  a 
single  incident,  however,  may  be  almost  indeli- 
ble; therefore  the  risque  in  either  advertise- 
ments or  stories  should  be  avoided;  there  is  no 
excuse  for  conveying  the  idea  that  the  theatre 
houses  a  show  for  the  so-called  "live  ones."  For 
example,  in  advertising  a  group  of  classical 
dancers,  the  fact  that  their  wardrobe  is  scant 
should  not  be  featured;  rather,  the  aesthetic  and 
beautiful  points  should  be  emphasized — and  this 
may  result  in  securing  not  only  the  patronage 

226 


of  those  who  might  come  with  an  idea  of  look- 
ing at  nude  limbs  but  as  well  of  those  who  have 
a  sincere  appreciation  for  and  knowledge  of 
art  and  the  beautiful.  The  latter  will  not  be 
drawn  by  advertisements  and  stories  of  the  at- 
traction in  which  the  feature  of  nudity  is  vul- 
garly or  coarsely  handled. 

Show-going  is  a  habit,  attendance  at  the 
theatre  is  a  luxury;  if  by  consistent  and  truth- 
ful publicity  in  both  display  advertising  and 
news  columns,  a  theatre  is  established  as  the 
one  which  it  is  the  "habit"  of  the  best  people 
to  attend,  the  others  will  trail  along. 

It  is  a  thoughtful  practice  for  the  manager 
to  note  little  items  of  news  which  may  drift  in 
to  him,  and  to  give  these  to  the  reporter  when 
he  calls,  or  to  telephone  the  papers  if  the  news 
is  of  sufficient  importance  and  is  for  any  rea- 
son not  likely  to  be  caught  by  the  regular  re- 
porters. In  the  event  of  prominent  persons 
visiting  the  theatre,  giving  box-parties,  line-par- 
ties, etc.,  the  names  of  host  and  hostess  and 
guests  should  be  secured  and  handed  to  the  so- 
ciety editors.  If  any  untoward  incident  has  oc- 
curred about  the  theatre,  the  papers  should  be 
informed  by  the  manager;  it  is  not  a  wise  policy 
to  attempt  to  keep  these  things  covered,  for 
if  they  have,  as  is  usually  the  case  a  real  news 

227 


value,  the  papers  will  publish  something  con- 
cerning them.  It  is  better  for  both  papers  and 
theatre  that  the  story  be  given  correctly  by 
the  proper  person  than  that  it  should  be  fer- 
reted out  from  other  sources  and  a  garbled  ver- 
sion reach  the  public.  If  friendly  relations 
have  been  established  with  the  newspapers,  it 
w411  be  found  that  the  editors  will  treat  such 
matters  with  consideration  and  due  regard  for 
the  business  interests  of  the  house.  The  good- 
will of  a  reporter  who  can  be  bribed  with  a 
cigar,  or  something  more  valuable,  is  never  worth 
the  price  of  the  bribe.  His  usefulness  to  any 
paper  will  be  short-lived.  Fairness,  courtesy 
and  honest  dealing  are  the  only  means  of  es- 
tablishing permanently  cordial  relations  which 
are  so  important  to  the  theatre  and  press  alike. 
Special  stories,  of  legitimate  interest,  occur 
with  considerable  frequency  in  the  theatrical 
business.  There  is  rarely  a  bill  which  does  not 
bring  at  least  one  artist  who,  if  diligent  inquiry 
be  made,  cannot  furnish  the  basis  for  an  inter- 
esting, readable  story.  These  are  valuable  to 
the  theatre,  and  to  the  paper.  The  public, 
through  reading  such  stories,  comes  finally  to  be- 
lieve that  the  theatre  is  booking  real  talent  and 
people  worth  writing  and  reading  about.  The 
day  of  the  overdrawn,  exaggerated,  highly-col- 

228 


ored  story  has  passed ;  there  was  a  time,  when  the 
public  was  not  so  wise,  when  these  were  pro- 
ductive of  results,  but  the  vaudeville  theatre 
has  become  a  fixed  institution,  a  factor  in  the 
community  life,  worthy  of  respect  and  recog- 
nition, and  the  policy  that  pays  now  is  the  one 
which  recognizes  the  importance  of  dignifying, 
in  every  way,  the  prestige  of  the  theatre,  its 
entertainments  and  its  players. 

The  importance  of  illustrations  should  not  be 
overlooked.  It  should  be  the  constant  effort  of 
the  manager  to  get  "cuts"  into  the  papers. 
Generally,  editors,  when  they  have  space  to 
spare,  are  glad  to  use  a  cut  of  a  pretty  woman 
with  some  bit  of  matter  about  her;  the  reader 
likes  illustrations,  and  the  cut  is  a  potent  factor 
in  the  effectiveness  of  publicity.  Cuts  should 
be  of  the  proper  screen,  that  is,  of  the  kind  that 
will  print  well  in  newspapers.  Generally,  news- 
papers prefer  half-tones  in  55-line  to  85-line 
screen,  as  finer  ones  merely  print  up  a  black 
blur.  Zinc  etchings,  made  from  pen  and  ink 
drawings,  generally  show  up  excellently  in  the 
newspaper. 

The  Sunday  "lay-out"  featured  by  many  pa- 
pers is  usually  made  in  the  newspaper  office 
from  photographs  furnished  by  the  theatres; 
Clear,    well    defined,    contrastive    photographs, 

229 


preferably  in  black  and  white,  are  best  for  this 
use. 

Billboards 

Considerable  attention  should  be  paid  to  the 
actual  making  of  one,  three  and  eight-sheet 
boards,  with  special  reference  to  their  dura- 
bility and  weather-resisting  qualities.  Other- 
wise much  needless  expense  may  be  incurred  in 
renewing  them  each  season;  a  little  more  time 
and  money  spent  on  the  first  construction  will 
make  boards  that  will  last  through  several  sea- 
sons. 

On  all  boards,  the  flat  surface  upon  which  the 
paper  is  posted  should  allow  for  a  two-inch 
margin  all  around;  in  other  words,  this  surface, 
for  a  one-sheet,  should  be  32  inches  wide  and  46 
inches  high,  the  standard  one-sheet  being  28 
inches  wide  by  42  inches  high.  The  two- 
inch  margin  all  around  this  provided, 
should  be  blanked  in  with  white  paper. 
The  surface  upon  which  paper  is  to  be 
pasted  should  never  be  painted,  as  no  paste 
has  been  found  for  practical  use  that  will  stick 
paper  to  a  painted  surface  when  exposed  to  the 
sun  and  weather. 

2S0 


Substantial  galvanized  iron  backs,  fastened 
to  2-inch  frame,  corners  braced  with  angle  irons ; 
back  painted  with  two  coats  of  asphaltum, 
frame  painted  with  two  good  coats  of  oil  color 
and  then  Spar-varnished,  will  make  stands  that 
will  last  for  many  seasons  with  anything  like 
reasonable  handling  and  care.  They  should  be 
painted  each  season,  front  and  back. 

When  boards  are  set  up  in  permanent  or 
semi-permanent  locations,  a  tin  flashing  should 
always  be  placed  at  the  top,  to  carry  off  rain- 
water and  prevent  rotting  of  the  frame. 

Inventories  of  boards  should  be  made  an- 
nually, and  the  employee  in  charge  of  them 
required  to  account  satisfactorily  for  any  short- 
ages. These  are  a  part  of  the  theatre's  equip- 
ment, and  deserve  the  same  thorough,  careful 
handling  and  attention  that  other  equipment 
should  receive. 

Posters,  Paper,  etc.  If  paper  is  to  be  posted 
at  all,  the  attendant  expense  is  only  justified  if 
intelligent  attention  is  given  to  typography, 
wording  and  general  effectiveness  thereof.  Re- 
member, posters  must  be  so  arranged  that  "he 
who  runs  may  read;"  rarely  do  people  read  in 
detail  what  is  printed  upon  them;  hence  it  fol- 
lows that  their  message  must  be  not  only  brief, 

231 


but  potent;  quick,  but  with  a  "punch,"  and 
what  they  have  to  say  must  be  said  in  a  very 
few  words.  Therefore,  the  message  of  the  pos- 
ter is  limited  to  essentials — essentials  effectively 
stated. 

It  follows  that  locations  should  be  carefully 
chosen.  In  fact,  they  should  be  selected  by  the 
manager  personally,  and  it  should  be  borne  in 
mind  that  it  is  a  waste  of  money  and  effort 
to  post  paper  on  inconspicuous  back  walls,  up 
alleys  and  in  other  out-of-the-way  spots.  Choice 
locations,  up  and  down  the  main  arteries  of 
travel,  near  important  corners,  transfer  points, 
depots  and  gathering  places,  and  in  the  heart 
of  the  city  as  much  as  possible,  are  the  desirable 
ones.  Paper  may  also  be  posted  with  good  re- 
sults at  the  intersections  of  automobile  roads, 
and  a  certain  amount  should  be  kept  up  in  small 
nearby  towns  from  which  it  is  possible  to  draw 
by  means  of  interurban  lines.  The  manager 
should  check  his  locations  weekly,  and  see  that 
paper  for  the  current  and  coming  shows  is  prop- 
erly posted.  It  is  good  policy  to  aim  high  in 
the  matter  of  locations;  the  chances  are  that 
the  shots  will  strike  a  fair  average,  since  so 
much  depends  upon  how  many  favorites  the 
bill-poster  is  trying  to  play. 

232 


Individual  large  stands  are  better  than  those 
crowded  into  the  middle  of  a  200-foot  board,  or 
lost  in  the  maze  of  a  double-  or  triple-decker 
stand. 

Where  city  ordinances  do  not  forbid  the  prac- 
tice of  "strong  arming,"  one-sheet  boards  up 
and  down  both  sides  of  the  main  streets  are 
very  effective.  This  is  usually  done  by  putting 
out  boards  late  Saturday  night,  leaving  them 
over  Sunday,  and  removing  them  Sunday  night. 
The  locations  for  these  must  be  "squared"  with 
the  merchants  controlling  the  curbs,  otherwise 
the  boards  may  be  confiscated. 

The  eight-sheet  is,  perhaps,  the  most  effec- 
tive size  of  paper,  when  good  locations  can  be 
secured.  Where  large  spaces  are  difficult  or 
impossible  to  get,  then  the  three-  and  on  down 
to  the  one-sheet  must  be  resorted  to,  if  bill- 
posting  is  done.  Local  conditions  govern  this 
work  and  its  extent,  but  the  intent  of  this  ar- 
ticle is  briefly  to  cover  the  practices  that  have 
generally  proved  profitable. 

Unless  the  theatre  owns,  or  leases  for  long 
terms,  locations  that  will  accommodate  24-sheet 
stands,  the  use  of  such  large  paper  is  not  as  a 
rule  justified,  the  cost  of  making  weekly  changes 
being  excessive.  Where  the  same  interest  con- 
trols more  than  one  house  in  a  city,  it  is  often 

233 


better  that  it  own  its  own  boards  and  control 
all  its  own  locations,  maintaining  its  own  wagon 
and  bill-posting  force  which,  when  not  at  that 
work,  can  be  utilized  in  some  other  way  about 
some  of  the  theatres. 

The  cost  of  bill-posting  varies — ranging  from 
4  to  10  cents  per  sheet. 

The  permanently  located,  painted,  20  to  24- 
sheet  stand,  is  considered  good  advertising.  It 
should  be  painted  at  least  once  each  season  and 
be  kept  bright  and  clean  at  all  times.  The  mat- 
ter of  illuminating  it  is  left  entirely  to  the  read- 
er's discretion. 

It  is  foolish  to  buy  paper  and  pay  for  posting 
unless  it  is  posted  right,  straight,  true  and  with 
proper  joints,  not  having  more  paste  on  its  front 
than  on  its  back.  When  standing  or  stock  pa- 
per is  used,  the  crew  should  go  out  after  storms 
and  heavy  rains  to  replace  "washdowns,"  and 
when  the  paper  begins  to  look  ragged,  it  should 
be  scraped  oflF  and  the  boards  freshly  covered. 
Allowing  several  thicknesses  of  paper  to  ac- 
cumulate on  a  board  will  result  in  upturned 
and  unsightly  edges.  Boards  should  be  scraped 
off  regularly  with  sharp  hoe  or  painter's  scrap- 
ing knife.  Better  to  blank  a  board  out  with 
white  paper  and  leave  it  so,  than  have  it 
ragged-looking,  or  with  a  one-sheet   posted  in 

234 


the  center  of  a  three-sheet  board;  a  three  in  an 
eight-sheet  board,  and  so  on.  This  sort  of 
thing  leaves  in  the  onlooker's  mind  an  impres- 
sion that  the  house  is  either  short  of  money 
with  which  to  purchase  paper,  or  mighty  care- 
less as  to  how  it  is  posted. 

Bill-posting  is  but  one  form  of  the  advertis- 
ing that  a  theatre  uses.  In  recent  years,  many 
vaudeville  theatres  have  entirely  abandoned  this 
sort  of  advertising,  claiming  that  better  results 
are  secured  through  expending  the  same  amount 
of  money  in  other  directions.  It  is  undeniably 
true  that  mercantile  advertising  on  billboards 
has  come  to  be  such  an  effectively  conducted 
proposition  that  it  has  to  a  considerable  ex- 
tent crowded  the  theatre  out  of  a  field  in  which 
the  latter  was  the  pioneer. 

However,  this  is  a  question  to  be  decided  by 
each  individual  manager  or  owner;  if  paper  is 
to  be  used,  the  following  information  concern- 
ing it  may  be  of  value: 

The  paper  customarily  used  for  theatrical 
posters  is  known  as  "50-pound  poster  white." 
It  is  generally  stocked  in  canary,  pink,  blue  and 
green,  though  these  tints  are  a  little  more  costly 
than  plain  white. 

The  standard  stock  sizes  of  poster  stands  are 
as  follows: 

236 


Half-sheet — 14  inches  wide  by  42  inches 
high. 

One-sheet — 28  inches  wide  by  42  inches  high. 

Three-sheet — One-sheet  (42  inches)  wide  by 
three-sheets  (84  inches)  high. 

Six-sheet — Two-sheets  (84  inches)  wide  by 
three-sheets  (84  inches)  high. 

Eight-sheet — Two-sheets    (84  inches)    wide 
by  four-sheets  (112  inches)  high. 

Twenty-four-sheet — Six-sheets  (210  inches) 
wide  by  four-sheets  (112  inches)   high. 

As  to  color  combinations,  there  is  an  ahuost 
endless  variety  of  these,  and  by  using  paper 
and  ink  of  various  colors,  extremely  effective 
poster  work  may  be  secured.  For  instance,  the 
following  one-color  printings  are  effective: 

Blue,  green  or  red  on  white  paper. 

Red  or  black  on  yellow  paper. 
Effective  two-color  combinations: 

Red  and  blue  on  white  or  yellow  paper. 

Red  and  green  on  white  or  yellow  paper. 

Red  and  black  on  white  or  yellow  paper. 

Black  and  any  of  the  above  colors  on  white 
or  yellow  paper. 

When  more  than  two  colors  are  used,  a  great 
variety  of  effects  can  be  obtained,  and  of  course 
the  use  of  cuts,  headings,  etc.,  may  render  still 
more  effective  the  advertising  poster. 

236 


Display  types,  sizes  and  faces  vary  so  greatly, 
that  it  would  be  almost  impossible  to  emimerate 
the  many  kinds.  In  general  practice,  it  will 
be  found  sufficient  to  make  up  the  copy  and 
leave  it  to  the  show-printer  to  get  out  an  ef- 
fective poster.  Copy  should  be  lettered  plainly, 
the  dating  should  be  carefully  checked,  and  all 
matter  be  in  the  hands  of  the  printer  in  suf- 
ficient time  to  allow  of  his  using  care  in  the 
w^ork  and  of  getting  it  back  to  the  theatre  in 
good  season.  Slow  movement  of  mail  and  de- 
lays in  express  shipments  should  be  anticipated 
if  the  boards  are  not  to  be  left  blank  at  some 
time  or  other. 

The  studious  advertiser  will  devise  differing 
color  schemes  from  week  to  week,  and  will  find 
variety  in  the  use  of  new  make-ups  and  types. 
A  deep  border  line  around  posters  sometimes 
adds  to  their  effectiveness,  and  the  color  of  this 
can  be  varied  with  pleasing  results. 

The  standard  size  of  a  window  card  is  14 
inches  by  22  inches;  the  usual  stock  is  four, 
five  or  six-ply  white  or  tinted  board,  sufficiently 
stiff  to  stand  without  bending,  and  to  resist 
weather. 

The  same  general  remarks  as  to  color  com- 
binations, typography,  etc.,  as  were  made  in 
connection  with  posters,  apply  to  window  cards. 

237 


Show  printing  should  be  entrusted  only  to  an 
establishment  making  a  specialty  of  this  sort  of 
work.  Such  concerns  employ  an  expert  and  it 
is  wise  for  the  manager  to  make  use  of  his 
knowledge  and  ability.  It  is  generally  suf- 
ficient to  submit  a  lay-out  showing  the  rela- 
tive importance  of  the  display. 

A  small  investment  in  a  name-plate,  or  spe- 
cial block,  to  use  as  a  "heading"  on  posters  and 
cards,  is  worth  while.  The  show-printer  will 
gladly  submit   suggested  designs   for  this. 

If  bill-posting  is  done,  let  it  be  consistently 
and  continuously,  not  spasmodically,  done.  If 
passersby  are  to  be  accustomed  to  see  paper  in 
a  certain  location,  it  should  be  kept  there  for 
them — freshly  posted  always,  and  in  keeping  in 
its  appearance,  style  and  brightness,  with  the 
standing  of  the  theatre. 

Window  and   Street  Car 

Window  locations  should  be  in  down-town 
stores;  in  elevators  of  busy  buildings;  at  popu- 
lar soda-fountains;  lunch  stands;  shine  parlors; 
barber  shops,  etc.  There  is  no  use  wasting 
cards  down  side-street  locations  and  where  the 
passes  issued  in  exchange  for  the  privilege  of 
placing  them   bring  in  a  class   of  people  who 

238 


should  not  mingle  with  the  more  refined  pa- 
trons. Passes  which  call  for  seats  in  the  best 
sections  should  not  be  issued  to  individuals  who 
are  likely  to  smell  "garlicky"  or  be  poorly 
dressed. 

JNIany  women  do  not  frequent  the  down-town 
portions  of  the  city,  but  the  house-wife  does 
get  to  her  neighborhood  drug-store,  grocery 
and  butcher-shop  almost  every  day.  These 
neighborhood  locations  are  sometimes  neglected 
in  the  matter  of  window-display,  but  the  man- 
ager is  very  short-sighted  who  overlooks  any 
method  of  appeal  to  the  women,  who  form  so 
large,  constant  and  enthusiastic  a  portion  of  his 
audience.  If  a  woman  has  been  accustomed  to 
seeing  an  attractive  card  on  her  daily  round  of 
marketing,  she  is  quite  likely  to  include  a  visit 
to  the  theatre  on  her  less  frequent  excursions 
down-town.  A  small  number  of  displays  ju- 
diciously placed  will  bring  better  results  than 
will  an  indiscriminate  scattering  of  many  cards 
in  one  or  two  windows  or  locations.  Employees 
are  prone  to  this  practice  as  a  saving  of  time. 
They  also  occasionally  attempt  to  curry  favor 
with  the  general  manager  or  head  of  a  circuit 
by  concentrating  posters  and  cards  on  all  the 
streets  leading  from  the  depot  to  the  theatre, 
with  the  idea  that  when  he  comes  to  town  he 

239 


will  think  the  city  well  posted.  This  is  most 
likely  to  defeat  its  own  ends;  conscientious  ser- 
vice is  the  only  sort  that  really  pays. 

A  watch  should  be  kept  for  stores  newly  va- 
cated, and  the  location,  if  desirable,  should  be 
promptly  pre-empted  for  exclusive  use.  Per- 
mission to  do  this,  however,  should  always  be 
obtained  from  the  proper  persons;  otherwise  a 
suit  for  trespass  may  result.  "Post  No  Bills" 
notices  placed  by  property-owners  should  be  in- 
variably respected. 

Advertisements  on  the  dash  of  street  cars  are 
desirable,  if  they  do  not  cost  out  of  proportion 
to  their  value.  The  larger  the  city,  the  more 
cars  and  the  higher  the  rate.  Inside  cards  in 
street  cars  (12  inches  by  16  inches)  at  the  price 
usually  charged,  are  not  worth  the  cost.  Gen- 
erally, the  street  car  companies  will  make  a  very 
favorable  rate  for  the  dash  space,  as  it  is  their 
policy  to  encourage,  so  far  as  consistent,  all 
down-town  amusements. 

Sanity,  consistency,  good  judgment  and  alert- 
ness should  characterize  effective  outdoor  adver- 
tising; the  exercise  of  these  qualities  will  largely 
determine  whether  it  is  worth  what  it  costs. 


240 


Lobby  Display 

It  is  in  the  lobby  that  the  first  concrete  im- 
pression of  the  theatre  itself  is  given  the  pros- 
pective patron.  If  the  theatre  is  centrally  lo- 
cated, many  people  will  stroll  into  and  through 
the  lobby,  look  over  the  display  and  be  in- 
fluenced materially  in  favor  of  or  against 
patronizing  the  house  as  the  display  is  either 
effective  or  lacking  in  "pull-in"  power. 

Therefore,  this  first  impression  should  be  a 
favorable  and  lasting  one;  the  lobby  should  be 
in  good  taste  and  kept  scrupulously  clean,  with 
harmony  in  the  color  scheme  of  walls,  trim- 
mings, frames  and  their  contents.  The  use  of 
polished  brass  trimmings  and  frames  should  be 
avoided.  These  are  passe  in  the  better  theatres 
nowadays — they  are  expensive  to  maintain,  are 
very  easily  soiled  and  dented  and  unless  a  great 
deal  of  time  and  effort  is  spent  keeping  brass 
bright,  it  looks  worse  than  almost  anything 
else. 

If  the  walls  are  of  marble  or  scagliola  they 
should  be  kept  clean  and  polished,  and  the 
joints  pointed  up.  If  of  wood  or  plaster,  fresh 
paint  now  and  then  upon  the  much-handled 
sections  will  keep  things  looking  well  at  small 
cost. 

241 


The  use  of  easel-frames  for  photos  and  other 
display  in  a  small  lobby  should  be  avoided. 
They  take  up  too  much  room  and  are  easily 
knocked  over,  involving  the  expense  of  renew- 
ing broken  glass,  and  often  broken  easels  and 
frames. 

Carved  wood  frames,  in  various  finishes,  fast- 
ened to  the  wall,  and  equipped  with  hinged 
fronts  with  glass  securely  fastened,  are  recom- 
mended as  most  effective  in  every  way.  They 
lend  themselves  to  rich,  attractive  display  of 
photos,  etc.,  more  effectively  than  any  other 
style  of  frame.  All  frames  should,  if  practica- 
ble, be  made  in  a  uniform  style  and  finish — 
though  not  necessarily  the  same  size. 

In  the  writer's  opinion,  too  much  stress  can- 
not be  laid  upon  the  importance  of  selecting, 
arranging  and  displaying  lobby  frames  to  the 
best  possible  advantage,  and  it  is  therefore  sug- 
gested that  frames  be  equipped  with  backs  of 
compo  or  beaver  board,  covered  with  richly 
colored  "rep"  or  cotton  velvet,  and  that  there 
be  sufficient  space  between  this  back  and  the 
glass  to  allow  the  display  of  photographs  to  be 
in  smaller  carved  wood,  gilt  or  bronze-finished 
frames  fastened  against  this  background. 

242 


This  involves  keeping  on  hand  a  stock  of  the 
small  frames,  of  which  the  following  will  be 
found  about  right: 

2  dozen  6  inches  by  8  inches. 

3  dozen  8  inches  by  10  inches. 
1  dozen  10  inches  by  12  inches. 
1  dozen  11  inches  by  14  inches. 

The  hanging  or  fastening  should  be  secure, 
and  so  arranged  that  when  the  frame  is  in  place, 
hooks,  chains,  pictia-e  wure,  etc.,  will  be  con- 
cealed. Use  only  a  double  thick,  white,  flaw- 
less glass  for  lobby  frames  and  always  keep  a 
few  panes  on  hand  for  use  in  case  of  break- 
ages. 

As  to  the  display  itself,  it  should  include 
photos  of  current,  "next  week"  and  "coming" 
attractions;  frames  should  not  be  over-crowded 
with  photos,  and  their  arrangement  should  be 
tasteful.  Each  frame  of  photos  should  con- 
tain a  neatly  lettered  card  or  brass  plate  1| 
inches  by  7  inches  indicating  title  and  billing  of 
acts  displayed  therein;  and  in  prominent  loca- 
tions in  the  lobby  should  be  frames,  containing 
attractively  lettered  announcements  of  "next 
week"  and  "coming"  attractions,  as  well  as  a 
complete  list  of  the  current  bill. 

Attractive  results,  and  economical  as  well, 
can   often    be    secured    by   using   some    of   the 

243 


richly  colored,  beautiful,  plain  wall-paper  now 
made,  to  paint  these  signs  upon;  and  this  paper 
may  also  be  effectively  used  as  backing  in  the 
photo  frames,  changing  the  design  and  color 
each  time  the  frames  are  re-dressed. 

Lobby  frames,  regardless  of  size  or  whether  to 
hang  or  stand,  should  have  hinged  fronts  with 
the  glass  secubely  fastened.  Neglect  of  this 
point  has  cost  much  in  broken  glass.  The  frame 
thus  constructed  permits  glass  to  be  easily 
cleaned,  back  re-dressed,  and  the  entire  proposi- 
tion handled  quickly  and  with  minimum  break- 
age. 

On  the  front  of  the  theatre  the  use  of  the 
electrically  lighted  transparency  is  very  effec- 
tive by  day  and  more  so  at  night,  and  if  the 
house  is  being  built,  the  walls  should  provide 
recesses  for  such  frames  as  will  accommodate 
electric  lighting  behind  the  glass  front  upon 
which  the  transparency  is  painted. 

The  sign-writer  who  is  to  handle  the  card 
work  should  be  an  artist,  not  a  house  painter. 
There  is  a  great  deal  of  this  work  to  be  done 
about  a  vaudeville  theatre,  and  it  is  often  better 
to  select  an  individual  rather  than  a  firm,  to 
handle  the  work.  Not  infrequently,  arrange- 
ments can  be  made  with  the  window-dresser  of 
a   leading   dry-goods   store;   or   with    some   ca- 

244 


pable  individual  who  is  employed  at  one  of  the 
sign-painting  studios.  Often  such  arrange- 
ments contemplate  the  artist  working  in  a  room 
about  the  theatre,  and  when  this  is  the  case,  the 
manager  should  take  an  active  interest  in  seeing 
that  he  has  the  proper  facilities  with  which  to 
work.  Should  it  chance  that  the  theatre  is  in 
a  very  small  city,  money  will  be  well  invested 
in  sending  the  card-writer  to  the  nearest  large 
city  to  see  how  these  things  are  done  in  leading 
theatres.  The  new  poster  effects  in  cards,  va- 
rious color  combinations,  "cut-outs,"  etc.,  are 
just  as  attractive  and  effective  in  getting  busi- 
ness in  the  small  town  as  in  the  large  one. 

It  is  wise  to  employ  by  the  week  the  best 
man  obtainable,  and  the  management  should 
take  an  intelligent  and  encouraging  interest  in 
his  work.  Apart  from  their  decorative  value, 
cards  and  bulletins  should  have  a  "punch"; 
they  should  be  effective  as  well  as  pleasing. 

The  lobby  should  be  well  lighted,  but  never 
glaringly  so.  The  seasons  afford  an  opportun- 
ity for  varying  decorative  schemes;  in  summer, 
the  lobby  should  be  cooled,  the  hangings  light- 
ened in  shade  if  possible,  and  a  "north  pole" 
suggestion  prevail;  in  winter,  it  should  give  an 
impression  of  warmth  and  colorful  comfort. 
Mirrors  conveniently  placed  in  well  lighted  lo- 

246 


cations   enhance   the    decoration   and   make   an 
attractive  appeal  to  matinee  patrons. 

Special 

Under  this  heading  will  be  discussed  out- 
side, inside  and  "stunt"  advertising  of  an  un- 
usual nature,  as  distinguished  from  standing 
and  customary  displays  and  advertisements. 

A  consistent  policy  of  taking  the  fullest  ad- 
vantage of  any  unusual  events  in  the  life  of  the 
city,  such  as  conventions,  fairs,  cantonments, 
etc.,  is  something  that  the  alert  manager  should 
develop  and  adhere  to.  Every  such  event  offers 
money-making  possibilities  to  the  theatre,  and 
it  is  the  theatre  reaching  these  people  oftenest 
and  most  effectively  that  "cashes  in"  on  the  at- 
tendance at  such  gatherings. 

For  instance,  during  the  annual  fair,  car- 
nival or  similar  activity,  attractively  colored 
tack-cards  should  be  placed  on  telegraph  and 
telephone  poles  along  the  main  highway  of  travel 
to  the  place  where  the  fair  is  being  held;  ad- 
vertising kites  may  be  flown  from  or  adjacent  to 
the  grounds;  arrangements  can  often  be  made 
to  place  a  banner  on  the  balloon  which  is  as- 
cending, or  on  the  elephants  in  the  parade; 
heralds  or   dodgers   can   be   distributed   on  the 

246 


grounds,  and  a  live  advertiser  can  usually  ar- 
range to  hang  a  large  overhead  banner  from 
telephone  poles  across  the  main  road  leading 
to  the  grounds,  at  two  or  three  important  points. 
If  it  happens  that  there  is  a  brassy  musical 
act  on  the  bill  at  this  particular  time,  arrange- 
ments should  be  made  with  them  to  "ballyhoo" 
at  the  gi'ounds  sometime  during  the  day,  an 
auto  being  provided,  with  banners,  for  it  to  use 
going  to  and  from  the  grounds  and  during  con- 
certs there.  Some  paper  can  probably  be 
sniped  on  fences,  barns,  etc.,  on  the  route  to 
the  groimds,  and  perhaps  arrangements  made 
to  put  a  banner,  or  some  paper,  on  the  judges' 
stand,  and  about  the  grand-stand  at  the  race 
track.  A  fair  or  convention  crowd  can  be  made 
to  look  at  something  about  the  theatre  every- 
where it  turns. 

Theatres  in  cities  adjacent  to  cantonments 
should  observe  about  the  same  practices  and 
every  effort  made  to  secure  and  hold  the  patron- 
age of  the  soldiers.  This  involves  treating  them 
courteously.  In  this  particular  case,  the  man- 
ager should  make  it  a  point  to  know  the  com- 
manding officer  and  his  staff;  boxes  may  be 
placed  at  his  disposal  now  and  then,  and  the 
acquaintance  of  the  other  officers  cultivated; 
these  attentions  will  bring  cash  to  the  box-office. 

247 


Every  effort  should  be  bent  toward  making  the 
theatre  popular — when  the  advertising  has  got- 
ten people  into  the  house,  only  fair,  honorable 
and  courteous  treatment  will  hold  and  bring 
them  back  again. 

Where  cantonments  are  situated,  arrange- 
ments can  be  made  for  tickets  to  the  theatre  to 
be  handled  through  the  canteen  or  company 
exchanges.  Such  arrangements  are  highly  desir- 
able, as  credit  is  thus  extended  to  the  soldier 
by  the  canteen  or  exchange,  which  pays  cash 
for  the  tickets,  settling  daily  or  weekly,  as  pre- 
ferred. 

Fraternal  organizations  may  be  used  to  good 
advantage  by  giving  them  "percentage"  bene- 
fits ;  that  is,  a  night  is  set  aside  in  a  certain  week 

which  is  to  be  "Knights  of Night." 

It  should  be  announced  about  five  weeks  in  ad- 
vance, and  the  organization  permitted  to  sell 
tickets  for  that  performance.  The  tickets  thus 
sold  should  be  exchangeable  at  the  box-office 
for  the  regular  ticket  of  the  theatre;  and  on  the 
night  of  the  performance  all  the  tickets  they 
have  sold  (not  only  the  ones  that  come  into  the 
box-office)  should  be  settled  for  on  a  percentage 
basis.  This  often  brings  to  the  theatre  many 
people  who  have  not  been  regularly  attending, 
and  may  make  new  patrons.     Usually  one  or 

248 


more  such  nights  can  be  arranged  for  each  week, 
for  a  period  of  ten  or  twelve  weeks.  Thus  there 
may  be  several  hundred  people  talking  about 
the  show  and  endeavoring  to  sell  tickets  for  it. 
Naturally,  they  recommend  it.  The  women's 
clubs  like  this  plan  and  have  proved  hard  work- 
ers and  business  getters  with  it. 

Arrangements  can  usually  be  made  with  the 
hotels  and  restaurants  which  print  a  menu  each 
day,  to  run  a  line  at  the  bottom  about  the 
theatre  and  show.  This  same  arrangement  can 
be  made,  as  a  rule,  with  the  principal  drug 
stores  and  soda  fountains  in  connection  with 
their  lists  of  soft  drinks  and  light  lunches.  The 
soda  fountain  men  might  be  persuaded  to  name 
drinks  after  current  headliners — for  instance, 
the  "Sophie  Tucker  Sundae;"  and  to  display 
the  names  of  these  specials,  not  only  on  the 
printed  list,  but  on  the  mirrors  behind  their 
fountains. 

A  tactful  effort  may  earn  the  privilege  of 
placing  a  small  frame  in  the  elevators  in  the 
principal  buildings.  People  riding  up  and  down 
have  nothing  to  do  but  look  around,  and  ad- 
vertising of  this  type  is  almost  100  per  cent 
effective. 

Display  frames  in  hotel  lobbies,  railroad  sta- 
tions, prominent  windows,  and  like  places  should 

249 


be  arranged  for  when  possible,  and  the  display 
therein  changed  regularly,  frames  maintained 
carefully  and  proper  attention  given  to  the  ex- 
tension of  "courtesies"  to  those  from  whom  the 
locations  are  secured.  Arrangements  in  special 
instances  can  often  be  made  with  the  leading 
merchants  and  laundries  to  enclose  with  each 
bundle  sent  out  during  a  certain  day  or  days, 
a  herald  descriptive  of  the  show. 

The  dairymen  of  the  city  will  probably  ac- 
cept, if  furnished  gratis,  the  little  paper  caps 
for  milk  bottles,  bearing  a  suitable  advertise- 
ment of  the  theatre.     The  cost  is  negligible. 

Stickers  may  be  used  to  good  advantage, 
though  care  should  be  taken  to  see  that  these 
are  not  pasted  in  a  manner  to  incur  the  wrath 
or  enmity  of  those  in  charge  of  the  premises. 

When  people  of  unusual  prominence,  the 
president,  governor,  or  other  well-known  and 
beloved  characters  visit  the  city,  a  box  should 
be  placed  at  his  disposal.  The  local  baseball 
team  should  be  entertained  with  a  box  party; 
the  graduating  class  of  the  high  school  honored 
thus  and  this  thoughtful  courtesy  extended  to 
the  local  orphanage  at  certain  matinees.  It  is 
a  decided  advertisement  for  the  theatre  to  have 
a  long  line  of  orphans,  in  charge  of  nurses,  file 
down  the  main  street  and  into  the  theatre  every 

250 


Tuesday  or  other  "off"  afternoon.  It  is  an  ad- 
ditional asset  to  have  the  house  known  as  the 
one  that  will  be  attended  by  celebrities  visiting 
the  city. 

The  theatre  should  be  quick  to  associate 
itself  with  patriotic  and  charitable  movements 
and  to  co-operate  in  such  work.  Any  and  every 
activity  looking  to  the  improvement  of  the  city, 
civic  beautification,  etc.,  should  meet  with  the 
support  of  the  theatre — and  by  these  means  it 
may  be  securely  entrenched  in  the  affection  and 
respect  of  the  leading  citizens  and  their  fam- 
ilies. 

If  possible,  arrangements  should  be  made  with 
the  street  car  company  for  conductors  to  an- 
nounce the  name  of  the  theatre,  at  the  stop 
nearest  it,  in  addition  to  the  street,  as  "Main 
Street,  Palace  Theatre."  Usually  the  traction 
company  will  co-operate  in  any  consistent  way 
in  helping  along  the  theatre's  publicity  efforts. 

A  scheme  that  has  been  worked  to  good  ad- 
vantage in  many  instances  is  to  have  two  or 
three  telephone  girls  call  up  each  residence  listed 
in  the  directory  and  inform  the  person  answer- 
ing that  there  will  be  an  exceptionally  good 
show  at  the  theatre  the  following  week.  Those 
entrusted  with  this  work  should  also  know  the 
scale  of  prices  at  the  theatre,  time  of  perform- 

251 


ances,  names  of  acts,  etc.  The  manager  should 
be  sure  that  they  will  take  rebuffs  gracefully, 
and  that  the  hours  during  which  this  telephon- 
ing is  done  are  selected  with  careful  reference 
to  the  housewife's  occupations.  The  best  hours 
are  between  ten  and  eleven  a.m.  or  two  and 
five  P.M. 

House-to-house  distribution  of  dodgers,  her- 
alds and  folders  is  always  good,  if  carefully  and 
honestly  done.  It  is  wise  to  look  up  the  city 
ordinances  before  going  into  this  sort  of  ad- 
vertising; there  is  very  seldom  an  ordinance 
against  house-to-house  distributing,  provided  the 
advertising  matter  is  handed  to  someone  in  each 
house;  but  many  cities  have  regulations  forbid- 
ding the  handing  out  of  such  matter  to  passers- 
by  on  the  street.  Careless  distributors,  in  a 
rush  to  get  the  work  finished,  may  cause  trouble 
for  the  theatre  by  violating  some  such  ordinance. 
Whenever  possible,  the  territory  to  be  covered 
should  be  laid  out  in  sections,  through  the  use 
of  a  map;  this  prevents  duplication,  promotes 
system  and  permits  the  checking  up  of  each 
distributor.  Girls  will  be  found  to  be  more 
honest  and  careful  than  boys  as  distributors, 
though  care  should  be  taken  in  either  case  in  re- 
gard to  the  observance  of  child-labor  laws. 

A  morning  show  for  newspaper  men  or  lec- 

262 


tures  at  some  school  or  college  by  a  suitable 
artist  who  can  arouse  the  proper  interest,  are 
good  forms  of  publicity.  Form-letters  sent 
out  to  the  right  people  from  time  to  time,  im- 
parting to  them  some  readable  item  of  news 
written  in  a  short,  attractive,  crisj)  style,  about 
the  show  or  theatre,  often  create  interest  and 
perhaps  patronage. 

The  plan  of  having  an  "invitation"  perform- 
ance for  the  press  or  other  selected  craft  or  pro- 
fession in  connection  with  the  work  of  some  spe- 
cial act  nearly  always  results  in  favorable  press 
comment  and  desirable  free  publicity. 

Anniversary  weeks  or  nights,  commemorating 
the  building  or  opening  of  the  theatre,  with  ap- 
propriate souvenir  programs,  etc.,  once  each  sea- 
son, are  usually  good  for  increased  patronage 
and  revived  or  increased  interest.  Holidays,  lo- 
cal and  national,  afford  opportunity  for  special 
features  and  decorations. 

The  field  of  "special  advertising"  is  so  vast  as 
to  make  it  practically  impossible  to  cover  it  en- 
tirely; the  suggestions  herein,  either  in  some 
modified  form  or  exactly  as  outlined,  will  be 
found  to  work  out  well  in  actual  practice;  the 
energetic,  imaginative  manager  will  work  out 
other  equally  good  or  better  schemes — and  upon 
his  initiative  and  discretion  will  depend  the  re- 

263 


suit  that  follows  upon  putting  them  into  prac- 
tice. 

The  matter  of  slide  advertising  in  the  theatre 
should  receive  careful  attention.  In  this  con- 
nection the  author  urges  that  the  theatre's  screen 
BE  NOT  made  an  advertising  medium  for  any- 
thing but  the  theatre.  In  other  words,  outside 
slide  advertising  should  not  be  accepted.  It  is 
true  that  some  revenue  may  be  derived  from 
this,  but  it  is  not  quite  fair  to  charge  patrons 
for  a  seat,  put  them  in  it,  turn  off  the  lights  and 
then  compel  them  to  look  at  a  weary  succession 
of  announcements  concerning  this,  that  or  the 
other  merchant's  wares.  The  author  has  known 
audiences  to  criticize  audibly  this  practice. 
They  will  cheerfully  look  at  and  be  interested 
in  announcements  concerning  coming  attrac- 
tions, but  they  resent  being  forced  (and  it 
amounts  to  forcing)  to  read  a  lot  of  advertise- 
ments in  which  they  are  not  interested  at  the 
moment.  This  fact  has  become  so  well  recog- 
nized that  many  shrewd  merchants  will  not  use 
screen  advertising  because  they  know  that  to  a 
certain  extent  people  resent  it  and  it  has  an 
effect  the  reverse  of  that  desired  by  the  ad- 
vertiser. 


254 


It  follows  that  the  theatre's  own  slides  should 
be  readable — brief  and  with  a  "punch"  as  to 
their  matter. 

In  this  connection — a  word  regarding  the 
making  of  slides.  If  there  is  someone  about 
the  house  who  can  letter  neatly,  desirable  slides 
may  be  prepared  by  coating  the  glass  with  a 
solution  made  of  common  whiting,  water  and  a 
little  glue.  Photographic  opaque,  purchasable 
at  any  kodak  supply  house,  may  also  be  used. 
After  the  coating  has  dried,  then  with  a  sharp 
pencil  point,  or  orange-wood  stick,  lettering 
may  be  scratched  through  this  coating,  result- 
ing in  a  slide  showing  a  white  letter  on  a  black 
backgroimd  on  the  screen.  The  letters  can  be 
tinted  by  placing  colored  gelatine  between  the 
glasses.  There  should  always  be  a  protective 
glass  placed  against  the  coated  side  of  the  slide, 
and  the  edges  fastened  with  passe-par-tout  tape. 

Then,  too,  there  are  photographic  slides. 
Most  of  the  larger  cities  now  have  established 
slide-making  concerns  and  where  there  is  one  it 
will  probably  be  found  best  to  use  its  facilities; 
photographs  of  the  acts  and  a  copy  of  the  billing 
should  be  furnished  by  the  theatre.  These  slides, 
while  costing  a  little  more,  are  usually  much 
superior  to  the  ones  made  in  the  theatre. 

265 


A  great  many  standard  acts,  besides  their 
usual  offerings  on  the  stage,  are  prepared  to  do 
special  stunts.  A  few  of  these  are  listed  in 
this  article.  There  are  many  others,  and  as  a 
general  proposition  they  will  make  known  to 
the  manager  the  special  things  they  do,  and 
suggest  the  manner  in  which  they  can  be  most 
effectively  utilized. 

HouDiNi,  the  master  magician,  escaping  from 

a  strait- jacket  while  suspended  in  the  air. 
Hardeen,  jumping  from  bridge  into  body  of 

water  while  handcuffed. 
Brindamour,  escaping  from  locked  cell  of  lo- 
cal jail;  also  jumping  into  the  water  while 
handcuffed  and  manacled. 
Pauline,  driving  team  of  horses,  while  blind- 
folded, through  the  principal   streets,  and 
finding  key  hidden  by  committee. 
Diving  Nymphs,  diving  and  swimming  exhi- 
bitions from  some  bridge  in  city. 
Odiva,  diving  and  swimming  contests  in  tank 

on  stage. 
Little  Billy,  receptions  for  children  on  stage 

after  matinee. 
Master  Gabriel,  receptions  for  children  on 

stage  after  matinee. 
Little  Lord  Roberts,  receptions  for  children 
on  stage. 

266 


Pelot,  of  the  Pelots,  catching  turnips  dropped 
from  high  building  on  fork  held  in  his 
mouth. 

Potter,  of  Potter  and  Hartwell,  hand-bal- 
ancing on  cornice  at  top  of  high  building. 

Ward,  of  Ward  and  Usless,  riding  bicycle 
around  top  edges  of  high  building. 

ALEXANDER  Patty,  of  Patty  Brothers,  walk- 
ing down  steps  of  prominent  building  on 
his  head. 

Johnny  Reynolds,  balancing  on  chair  at 
edge  of  top  of  building. 

Edwards  Davis,  or  the  Rev.  Frank  Gor- 
man, delivers  sermon  from  pulpit  of  church 
Sunday  morning. 

Singer's  ]SIidgets,  street  parade. 

Alice  Teddy,  roller  skating  bear,  lobby  stunts. 

Gruber's  Elephants,  street  parade. 

Ching  Lee  Hee,  and  other  Chinese  troupes, 
one  member  doing  a  "slide  for  life,"  sus- 
pended by  cue,  from  some  high  point  out- 
side theatre  to  the  ground. 

Willard's  Temple  of  Music,  lobby  and 
front-of-house  musical  festival. 

Travilla  Brothers,  educated  seal  visiting 
prominent  persons  and  doing  special 
"stunts." 

267 


Mr.  Proxy,  the  man  who  looks  like  President 
Wilson,  special  street  and  social  "stunts." 

The  Vivians,  outside  sharpshooting  and  lec- 
turing. 

Mercedes,  demonstrations  of  mental  telep- 
athy in  Mayor's  office ;  really  wonderful,  and 
usually  receiving  considerable  notice  from 
press. 

George  M.  Brown,  long-distance  walker, 
hikes  with  Boy  Scouts  and  local  walking 
contests. 

WiLLARD,  the  man  who  grows;  demonstra- 
tions before  medical  clinics,  etc. 

Hale  and  Patterson,  tango  and  dancing  les- 
sons on  stage  after  matinees. 

Charles  Kellogg,  the  California  naturalist, 
riding  about  streets  with  auto  made  from 
redwood  tree;  special  invitation  perform- 
ance and  demonstration  on  stage. 

Noodles  Fagan,  talks  to  school  children  and 
newsboys. 

And  many  others,  whose  special  "stunts" 
of  this  sort  may  be  made  productive  of  much 
interest  to  the  patronage  of  the  theatre  during 
the  week  they  are  on  the  bill. 

Here  follows  a  partial  list  of  freak  and  un- 
usual advertising  "stunts,"  which,  in  the  main, 
are    antiquated    and    unsuited    to    present-day 

268 


uses;  however,  in  communities  where  they  have 
never  been  done,  and  in  houses  whose  prestige 
will  not  be  damaged  by  them,  they  may  still  be 
"put  over,"  though  the  practice  is,  frankly,  not 
recommended  by  the  author: 

The  "Maggie  Murphy"  dummy  on  the  street. 

The  "Bean  Guessing"  contest  for  prizes. 

The  "Stage  Wedding." 

The  Coyne  Advertising  Kite  and  Balloons. 

The  Searchlight. 

The  "Prettiest  Baby"  Contest. 

The  "Barn  Dance." 

The  "Cabaret"  after  Saturday  night  show. 

The  "Country  Store." 

The  Monday  Night  "Prize  Drawings." 

The  "Ladies'  Free  Tickets." 

The   "Ladies'   Hat"   Wednesday  afternoons. 

The  "Grab  Bag"  for  children  Saturday  after- 
noons. 

The  "Morning  Matinee." 

The  "Sleeping  Beauty"  in  a  store  window. 

The  "Artificial  Flower"  matinee. 

The  "Giving  Away  a  Live  White  Baby." 

The  "Necktie  Party." 

The  "Red-Headed  Woman"  and  "Fat  Man" 
matinee  and  night. 

The  "Painted  Footprints"  leading  to  the 
theatre. 

269 


The  "Ad  Card"  on  sidewalk  held  down  by 
bricks. 

The  "Pie  and  Melon"  eating  contest. 

The  "Sandwich  Man." 

The  Wagon  Sign  Perambulator. 

The  Town  Crier  and  Bell. 

"Rubeing"  the  street  with  bicycle  or  horse 
and  wagon. 

And  last,  but  by  no  means  least,  "Amateur 
Nights." 


260 


CHAPTER   V 

UNIFORMS 

THE  better  theatres  in  the  larger  cities 
devote  much  attention  to  the  uniforming 
of  the  staff,  and  have  been  doing  so  for 
some  years;  the  inference  is  that  if  it  were  not 
worth  while  from  a  dollars  and  cents  standpoint, 
they  would  not  do  it. 

The  simple  facts  are  that  uniforming  the 
staff  lends  a  considerable  dignity  to  the  theatre, 
is  impressive  and  gives  tone  to  the  entire  en- 
terprise. Moreover,  there  is  something  in  the 
psychology  of  clothes.  A  man  in  a  uniform  is 
marked;  people  know  that  he  is  vested  with 
more  or  less  authority  or  represents  those  who 
are,  and  he  feels  the  dignity  and  responsibility 
of  the  position  which  his  uniform  indicates. 

The  superintendent,  door-men,  ushers,  foot- 
man, maid,  and  other  attaches  in  front  of  the 
house,  and  such  of  the  stage  employees  as  now 

261 


and  then  come  "on  stage"  during  a  show  for 
the  purpose  of  handling  props,  assisting  acts, 
or  changing  announcements,  should  be  neatly 
uniformed. 

A  uniform  is  impressive  only  if  it  is  in  good 
taste,  clean,  neatly  pressed  and  fits  its  wearer. 
If  faded,  torn,  patched,  baggy  or  ill-fitting,  it 
might  better  not  be  worn.  Also,  it  is  bad  taste 
to  uniform  attaches  in  heavy  cloth  during  the 
summer  time. 

Many  a  manager,  outfitting  his  staff  without 
giving  this  subject  careful  thought,  has  found 
after  a  considerable  expenditure  that  the  uni- 
forms, in  color,  material,  fit  or  general  appear- 
ance, do  not  come  up  to  the  hopes  justified  by 
the  outlay,  and  the  purpose  of  this  article  is,  if 
possible,  to  offer  some  suggestions  based  upon 
actual  experiences,  which  will  make  the  invest- 
ment in  this  equipment  as  "worth  while"  as 
may  be. 

One  should  not  go  to  the  ordinary  custom 
tailor  for  uniforms,  any  more  than  to  the  har- 
ness-maker for  shoes;  the  making  of  uniforms 
is  a  business  unto  itself,  a  distinct  and  separate 
branch  of  tailoring  requiring  peculiar  knowl- 
edge. Uniforms  must  be  of  proper  fit  to  look 
well,  so  careful  measurements  and  "try-ons" 
are  very  necessary. 

262 


The  maker  of  uniforms  should  leave  an  "in- 
lay" of  one  and  a  half  inches  in  all  seams,  and 
this  should  be  stipulated  in  the  order. 

It  is  more  profitable  in  the  long  run  to  pur- 
chase a  good  quality  of  material,  as  it  retains 
shape  and  lasts  much  longer. 

In  selecting  colors,  bright  and  flashy  shades 
should  be  avoided. 

At  the  close  of  winter  and  summer  seasons, 
when  the  change  from  one  set  of  uniforms  to 
the  other  is  made,  those  not  in  use  should  be 
thoroughly  repaired,  cleaned  and  packed  away 
with  some  moth-protecting  ingredient,  so  that 
pressing  will  make  them  ready  to  wear. 

Materials  for  winter  use:  Broadcloth,  chev- 
iots, flamiels,  thibets  and  meltons;  preferable 
are  broadcloth,  cheviots  and  meltons. 

Materials  for  summer  use:  Serges,  worsteds, 
mohairs,  gabardines  and  white  duck;  preferable 
are  serges,  mohairs  and  gabardines.  The  up- 
keep of  white  duck  makes  it  more  expensive  in 
the  long  run  than  any  other  material,  and  as  it 
is  not  very  "dressy,"  its  desirability  is  ques- 
tionable. 

Colors :  Navy  blue,  dark  green,  maroon,  dark 
brown  and  gray  are  more  durable  than  the  deli- 
cate shades  of  mauve,  plum,  light  maroon,  old- 
rose,  light  green  and  marine  blue. 

263 


Combination  of  colors  and  trimmings:  The 
combination  is  made  chiefly  of  a  lighter  color 
for  trimming,  finished  with  a  narrow  gold  cord, 
bringing  out  the  high  lights  of  the  uniform. 
This  little  touch  of  gold  gives  finish  to  the 
garment.  An  effective  and  tasteful  combina- 
tion is  a  maroon  background  trimmed  with  a 
bright  American  rose  plush  collar  and  cuffs 
with  a  quarter-inch  gold  lace  at  top  of  and 
around  the  collar  and  at  top  of  the  cuffs.  A 
gray  serge  uniform  may  be  trimmed  with  dark 
gray  or  black  braid,  the  coat  double-breasted 
with  five  silver  buttons  on  each  side  and  braid 
down  each  side  of  trousers.  This  uniform  is  used 
very  much  on  the  Continent,  and  in  many  of  the 
high-class  houses.  Very  light  and  inexpensive 
uniforms  for  the  hot  summer  months  are  made 
of  mohair  in  different  shades  and  colors,  such 
as  dark  blue,  dark  green,  dark  brown  and  ma- 
roon, trimmed  with  a  narrow  cord  about  3/16 
inch  wide  down  each  side  of  trousers  and  around 
collar  and  cuffs.  The  cord  may  be  of  white, 
silver,  light  blue,  red,  maroon  or  green,  as  will 
best  carry  out  the  color  scheme. 


264 


Designs  for  Ushers'  Uniforms 

1.  Five-button  blouse,  standing  collar;  black 
trimming  around  collar  and  cuffs  and  down  side 
of  trousers. 

2.  Fatigue  coat  trimmed  with  braid  down 
center  of  front,  around  the  bottom,  up  the  side 
vents  and  around  the  collar  and  cuffs,  down  side 
of  trousers. 

3.  Uniform  coat,  standing  collar,  with  five 
buttons  down  the  center  and  each  side  of  front; 
trimmed  with  gilt  or  colored  braid  around  cuffs 
and  collar  and  down  seam  of  trousers. 

4.  Standing  collar  with  edge  to  edge  opening 
down  center;  finished  with  narrow  soutach  or 
braid  on  edge  of  opening;  six  buttons  on  each 
side  of  coat  from  shoulders  down;  trimmed 
with  heavy  cord  around  cuffs  and  down  seams 
of  trousers. 

5.  Civilian  coat,  lay-down  collar  and  short 
lapels;  four  buttons  down  front;  straight  cut. 

6.  Uniform  page  coat  with  standing  collar; 
one  row  of  buttons  down  center,  also  down  each 
side  of  coat;  trimmed  with  narrow  gold  cord 
on  cuffs  and  trouser  seams. 

7.  Admiral  coat  with  standing  collar;  cut- 
away; six  buttons  down  front  and  pleat  in  back, 
with  long  trousers. 

265 


8.  Colonial  uniform;  cut-away  coat  with  col- 
lar opening  at  front  or  white  jabot  with 
striped  vestee  attached;  court  breeches;  white 
stockings  and  black  pumps. 

Miscellaneous   Uniforms 

Door-man.  Single-breasted  frock  coat  to  the 
knee,  with  standing  collar  and  braid  down  cen- 
ter of  coat;  to  fasten  with  hooks  and  eyes; 
trimmed  with  black  or  colored  velvet;  collar 
and  cuffs  finished  with  gold  cord  at  edge. 

Superintendent.  Five-buttoned  frock  coat  to 
the  knee;  turned  down  collar  with  short  lapels; 
six  buttons  down  the  center  and  slashers  back 
of  coat  from  waist  down. 

Policeman.  Double-breasted  frock  coat; 
standing  or  lay-down  collar  with  large  reveres; 
to  button  across  the  breast  with  five  buttons  on 
each  side  of  the  coat;  pocket  flaps  to  waist  line 
of  coat  and  slashers  in  the  back.  Length  of 
coat  four  inches  below  the  knee. 

Porter.  Standing  or  lay-down  collar,  four 
or  five  buttons  down  the  center;  straight  cut. 

266 


On  Stage.  Double-breasted  coat,  standing 
or  lay-do^^^l  collar;  length  of  coat  to  the  seat; 
four  or  five  buttons  each  side  of  coat,  straight 
cut;  or,  turned  down  collar  buttoned  to  the 
neck  with  five  buttons  down  center,  straight 
cut. 

Musicians.  Musicians'  or  orchestra  uniforms 
to  consist  of  dark  maroon  velvet  coat,  tuxedo 
cut,  with  black  velvet  lapels  and  cuffs  trimmed 
with  black  or  red  cord;  to  fasten  across  with 
one  loop;  one  pocket  on  each  side;  black  cloth 
trousers  trimmed  with  black  braid. 

Caps  should  be  selected  from  pictorial  cuts 
or  plates,  as  the  styles  and  shapes  are  so  many. 

Girl  Ushers'  Uniforms 

The  girl  ushers'  uniforms  are  made  in  a  great 
variety  of  styles,  from  the  simple  house-dress 
to  the  more  elaborate  costume,  such  as  different 
National  dresses.  These  are  made  in  such  ma- 
terials as  poplin,  serge,  luster  mohair,  silk,  satin 
and  floral  satine.  A  unique  girl  usher's  uni- 
form is  a  tight  fitting  military  coat,  made  of 
tan  broadcloth  or  khaki  with  standing  military 
collar,  patch  or  imitation  pockets,  two  lower 
and  two  upper,  belt  of  lighter  shade,  five  but- 

267 


tons  down  front  and  buttons  at  each  pocket. 
Skirt,  three-quarter  length. 

A  handsome  uniform  may  be  made  of  black 
broadcloth.  Coat  with  four  buttons  down 
front,  standing  collar,  military  style,  one  side 
having  a  large  lapel  set  back  against  the  coat 
trimmed  with  two  rows  of  gold  cord  around  the 
edges,  and  also  around  the  coat  and  two  rows 
around  the  sleeves.  Tight  fitting  skirt  three- 
quarter  length  trimmed  with  two  rows  of  gold 
cord  on  each  side  with  four  buttons  between 
the  cords. 

There  are  also  the  more  conventional  uni- 
forms, such  as  three-quarter  length  black  skirt, 
black  waist  with  white  Georgette  or  linen  collars 
and  cuffs,  white  frilled  cap  and  French  apron, 
black  patent  leather  pumps;  or  Quaker  gray 
dresses,  pleated  three-quarter  length  skirt,  white 
cuffs,  collar,  cap  and  apron,  gray  stockings  and 
pumps. 

Programs,  Advertising  Curtains  and 
Concessions 

Programs.  No  uniform  method  of  announc- 
ing or  programming  acts  has  been  adopted 
throughout  the  country,  but  the  following  three 
systems  are  most  in  vogue: 

268 


1.  The  use  of  a  printed  program  in  con- 
junction with  ilbiminated  alphabetical  or  nu- 
merical annunciators  placed  at  each  side  of  the 
proscenium  opening,  which  flash  an  initial  or 
number  indicating  which  of  the  acts  in  the 
printed  program  is  next  to  appear.  It  is  cus- 
tomary to  leave  this  number  or  initial  illumin- 
ated during  one-half  of  the  entire  time  that  the 
particular  act  is  "on," 

2.  Framed  cards  with  name  of  act  upon 
easels  at  both  sides  of  the  opening.  The  printed 
program  is  sometimes,  but  not  as  a  rule,  used 
with  this  system. 

3.  Illuminated  glass  transparencies  at  one  or 
both  sides  of  opening,  transparency  showing 
name  of  act,  so  arranged  that  only  the  names 
are  illuminated  one  at  a  time. 

Any  of  these  methods,  properly  handled,  is 
good;  the  first  being  probably  the  best,  where 
satisfactory  arrangements  for  the  furnishing  of 
a  program  can  be  effected. 

In  one  way  and  another,  the  matter  of  fur- 
nishing patrons  with  a  printed  program  pre- 
sents material  difficulties,  but  against  these  dif- 
ficulties is  the  possibility  of  its  becoming  a 
source  of  considerable  revenue. 

It  is  customary  to  let  the  privilege  of  publish- 
ing the  program  to  an  alert  individual  or  ad- 

269 


vertising  agency,  to  fill  with  paid  advertising 
matter  the  space  not  devoted  to  title,  billing 
of  acts,  house  notes  and  advance  matter. 

In  making  the  contract  covering  this  conces- 
sion, it  is  suggested  that  the  following  points 
have  careful  consideration: 

1.  That  the  party  undertaking  to  furnish  the 
program  be  sufficiently  established  and  of  such 
financial  standing  as  reasonably  assures  his  abil- 
ity to  furnish  it  continuously  throughout  the 
period  covered. 

2.  That  it  be  distinctly  understood  that  the 
theatre  is  not  liable  for  bills  for  printing,  cuts 
or  other  claims  that  may  accrue  against  the 
publisher. 

3.  That  no  advertisements  in  their  nature  not 
acceptable  to  the  theatre  will  be  printed;  such 
as  those  of  saloons,  clairvoyants,  "blood  spe- 
cialists," etc. 

4.  That  the  number  of  programs,  books  or 
slips  to  be  furnished  be  definitely  stated,  and 
the  date  or  day  and  hour  for  delivery  thereof 
be  specified.  Tardy  delivery  and  insufficient 
quantity  of  programs  should  be  provided 
against. 

5.  That  the  concession  or  privilege  be  not 
sublet  without  written  consent  of  the  theatre. 

270 


6.  That  a  clear  understanding  be  had  of  just 
how  much  space  will  be  allotted  for  the  use  of 
the  theatre,  and  of  the  grade  of  paper,  and  color 
and  cover  stock. 

7.  That  payments  to  the  theatre  of  amounts 
due  for  the  concession  be  promptly  made  upon 
the  date  due. 

8.  That  if  possible,  a  cash  deposit  or  a  satis- 
factory bond  protecting  the  theatre  against  loss 
if  concessionaire  does  not  fulfill  his  contract,  be 
secured. 

9.  That  provision  against  discontinuance  of 
concession  without  a  certain  term  of  notice  in 
writing  by  the  party  discontinuing  be  made. 

The  awarding  of  this  concession  should  in- 
variably be  made  the  matter  of  a  written  agree- 
ment, setting  forth  fully  just  what  each  party 
undertakes,  and  never  effected  by  a  general 
verbal  understanding. 

The  amount  to  be  paid  by  the  concessionaire 
for  this  privilege  varies  so  widely  in  different 
sections  that  suggestions  on  this  point  should 
not  be  made  here;  it  should  be  governed,  fairly 
and  equitably  to  both  parties,  by  local  condi- 
tions as  to  advertising  possibilities  and  printing 
costs.  A  copy  of  all  contracts  made  for  curtain 
and  program  advertising  should  be  filed  with 
the  manager  of  theatre. 

271 


Advertising  Curtains 

Usually  the  "street  drop,"  and  sometimes  the 
asbestos  and  house  curtains  also,  carry  a  number 
of  advertisements,  although  in  the  larger  first- 
class  theatres  the  ad-curtain  is  no  more.  As  a 
rule,  the  spaces  for  these  curtains  are  quite 
salable  for  greater  or  less  amounts,  depending 
upon  the  class  of  theatre,  number  of  perform- 
ances per  day,  business  the  house  is  doing,  etc. 
As  a  general  proposition,  the  spaces  should  be 
leased  for  the  "season"  or  at  least  for  three- 
month  or  quarterly  periods. 

There  are  several  concerns  making  a  specialty 
of  leasing  the  entire  curtain  privilege  in  thea- 
tres, paying  the  house  a  certain  fixed  sum  there- 
for, and  usually  these  concerns  are  responsi- 
ble. 

In  making  a  contract  covering  this  conces- 
sion, it  is  suggested  that  the  following  points 
receive  particular  attention: 

1.  The  style  of  curtain  or  drop  to  be  used, 
the  number  of  spaces  thereon,  and  the  general 
design  to  be  subject  to  the  api^roval  of  the  man- 
agement. 

2.  The  amount  to  be  paid  for  the  conces- 
sion, and  the  periods  of  payment.     If  payment 

272 


is  to  be  made  upon  a  percentage  basis,  a  tripli- 
cate copy  of  each  contract  made  for  space  on 
the  curtain  should  be  filed  with  the  manager 
of  the  theatre. 

3.  Advertisements  not  acceptable  to  the  man- 
agement shall  not  be  placed  upon  the  curtain. 

4.  A  distinct  understanding  as  to  how  often 
or  how  long  the  curtain  or  drop  is  to  be  dis- 
played at  each  show. 

5.  The  responsibility  of  the  concessionaire; 
his  ability  to  fulfill  his  obligations  and  the  pro- 
tection of  the  management  by  bond,  cash  de- 
posit or  other  means. 

6.  Distinct  understanding  as  to  whose  prop- 
erty the  curtain  or  drop  is  to  be;  this  for  the 
reason  that  in  some  instances  the  concessionaire 
furnishes,  paints  and  re-paints  a  house  curtain 
or  drop. 

In  many  of  the  better-class  theatres,  street 
drop  or  house  curtain  advertising  is  not  per- 
mitted. 

Concessions.  Candy  and  other  concessions  of 
this  kind  are  a  source  of  considerable  revenue 
in  many  theatres,  but  in  many  of  the  first-class 
houses  these  have  been  discontinued  although  a 
few  of  such  houses  are  still  using  the  candy  case 
in  foyer  or  lobby.     In  general,  contracts  cov- 

273 


ering  these  concessions  should  specify  the  quality 
of  the  products  which  are  to  be  sold;  the  price 
at  which  they  are  to  be  sold;  the  container 
(guarding  against  paper  bags  that  rustle 
loudly)  ;  just  what  articles  are  to  be  dispensed 
(chewing  gum  being  very  undesirable),  etc. 
The  theatre  should  reserve  the  right  to  require 
concessionaire  to  employ  as  dispensers  only  per- 
sons satisfactory  to  the  theatre,  and  to  require 
such  dispensers  to  be  neatly  uniformed.  A 
badly  behaved  candy  boy,  a  noisy  "peddler"  or 
one  who  runs  up  and  down  aisles,  or  seats  him- 
self amongst  patrons  during  the  performance,  is 
not  desirable — the  management  should  have  the 
right  to  require  the  concessionaire  to  replace 
him. 

A  peanut  or  popcorn  stand,  or  similar  enter- 
prise, does  not  belong  in  the  lobby  of  a  well- 
conducted  theatre,  and  if  candy  is  to  be  sold  at 
all,  it  should  be  dispensed  from  a  case  in  lobby 
or  foyer,  instead  of  by  venders  passing  up  and 
down  aisles. 

Laundry,  cleaning  and  pressing,  baggage 
hauling  and  business  privileges  of  this  type  are 
best  left  to  be  handled  in  accordance  with  the 
requirements  of  local  conditions,  which  vary  so 
greatly  that  it  is  impracticable  to  lay  down  any 
general  rule. 

274 


Fire  and  Panics 

A  few  years  ago,  in  a  mid-western  city,  a  fire 
occurred  in  a  theatre  which  resulted  in  the  death 
of  a  great  number  of  people.  From  time  to 
time  other  fires  have  occurred  in  theatres,  with 
heavy  casualties,  and  the  result  of  these  has 
been  to  breed  in  the  mind  of  the  public  at  large 
a  general  distrust  of  any  building  in  which 
crowds  gather  and  which  is  not  as  fireproof  in 
every  way  as  human  ingenuity  can  make  it. 

It  follows  that,  aside  from  humanitarian  con- 
siderations, the  "dollars  and  cents"  instinct 
should  prompt  the  builder  to  construct  his  thea- 
tre as  nearly  fireproof  as  possible  and  to  equip 
it  with  every  known  device  to  promote  the  safety 
of  its  audiences.  To  just  the  extent  that  these 
features  are  emphasized,  and  it  is  known  that  the 
house  is  safe,  will  the  public  be  encouraged  to 
patronize  it. 

Many  mothers,  bj^  instinct  timid  where  their 
offspring  is  concerned,  inquire  anxiously  on  this 
point  before  permitting  the  children  to  make  a 
certain  theatre  their  rendezvous  on  Saturday 
afternoons  and  holidays;  fathers  wish  to  know 
about  these  things,  and  the  elderly  and  infirm  are 
loath  to  attend  a  performance  in  a  theatre  con- 

276 


cerning  the  safety  of  which  there  is  any  ques- 
tion. 

Then,  too — while  the  author  has  never  ex- 
perienced it  and  hopes  he  never  will — the  feel- 
ing of  responsibility  resting  upon  a  manager 
or  builder  who  has  erected  an  unsafe  house  in 
which  lives  have  been  lost,  must  be  terrible,  and 
this  thought  should  prompt  the  building  of  a 
safe  theatre  in  so  far  as  that  can  be  done. 

No  building  is  absolutely  fireproof;  concrete 
and  iron  will  twist,  warp  and  disintegrate  in 
conflagrations. 

The  percentage  of  persons  burned  to  death 
in  theatre  fires  has  usually  been  small  in  com- 
parison with  the  total  casualty  list;  it  is  the 
crush  of  the  panic  which  is  most  deadly.  In 
fact,  it  does  not  need  a  fire  to  start  a  panic.  A 
fight;  an  unusual  noise;  a  fuse  burning  out; 
sparks  from  an  electric  short-circuit;  an  over- 
loaded wire  burning  off  insulation  and  filling 
the  house  with  a  smoky  odor;  fire  in  another 
building  in  the  same  block;  a  patron  with  an 
epileptic  fit;  an  unexpected  commotion  on  the 
stage  or  in  the  audience;  the  lights  going  out 
suddenly;  an  unusually  violent  storm  or  clap  of 
thunder;  lightning  striking  nearby;  an  actor 
or  animal  falling  into  the  orchestra  pit;  a  lion 
or  other  large  animal  becoming  uncontrollable 

276 


on  stage;  a  false  cry  of  "Fire!"  by  someont 
in  the  audience  or  elsewhere;  the  breaking  of 
a  sandbag  permitting  a  lot  of  loose  fine  dust  to 
sift  quickly  down  onto  the  stage;  scenery  or 
border  lights  or  main  curtain  falling;  a  fan  or 
chandelier  falling  into  the  audience;  any  un- 
usual noise  or  commotion  in  the  picture  booth — 
these  or  any  one  of  an  endless  multitude  of 
other  incidents  may  start  a  panic  where  there 
is  no  fire,  and  in  fact  no  danger,  except  that 
from  the  panic  itself. 

Panic  is  contagious;  ordinarily  courageous, 
brave  men,  and  self-confident,  well-balanced 
women,  will  suddenly  lose  their  poise,  their 
nerve,  and  become  gibbering,  pushing,  slathering 
idiots ;  trampling  over  their  fellows  without  com- 
punction; straining,  shoving  and  screaming,  and 
a  panic,  like  a  stampede  of  cattle,  gathers  mo- 
mentum long  after  its  original  cause  has  ceased 
to  exist. 

The  greatest  deterrents  of  panic  are,  first, 
light,  and  second,  light,  and  third,  LIGHT. 
If  the  lights  do  not  fail,  and  people  can  look 
about  them  and  see  what  the  conditions  are, 
they  are  not  nearly  so  prone  to  unreasoning, 
blind  fear.  Hence,  the  emphasis  in  this  work 
laid  again  and  again  upon  the  necessity  of  a  safe 
and  proper  wiring  installation,  control  of  house 

277 


lights,  not  only  from  the  stage,  but  by  means  of 
remote  control  switches  from  the  box-office,  door- 
man's station,  and  picture  booth  as  well,  and  the 
feeding  of  lines  supplying  exit  and  stair  lights 
from  both  front  and  back  mains  leading  into  the 
theatre.  After  light,  have  music — the  orches- 
tra trained  to  play  a  lively  march,  preferably 
patriotic  ("Dixie"  is  suggested),  and  play  it 
LOUD.  People,  seeing  the  orchestra  remain  in 
its  seats,  playing,  are  likely  to  sit  down  again 
and  refuse  to  be  stampeded. 

It  is  essential  at  a  time  like  this  that  aisles  be 
of  the  approved  widths,  that  exits  be  ample  and 
that  these  exits  be  equipped  with  the  approved 
devices  for  opening  them  from  the  inside.  It 
is  important  (and  usually  a  requirement  of 
law)  that  all  doors  open  outward,  that  alleys 
and  exit-ways  be  not  blocked  up  with  boxes 
or  any  impeding  articles — that  there  be  a  clear, 
unobstructed  outlet  to  the  open. 

It  is  essential  that  automobiles,  etc.,  be  not 
PERMITTED  to  park  in  front  of  the  theatre — it  is 
IMPORTANT  that  the  entire  front  be  left  clear,  to 
provide  quick  egress  across  the  sidewalk  and  into 
the  street,  and  to  provide  as  well  an  open  space 
for  the  entry  of  the  firemen,  with  their  hose,  etc., 
if  there  is  a  fire  and  they  do  have  to  come  in. 
There  must  be  room  in  front  of  the  theatre  for 

278 


their  apparatus,  and  unobstructed  space  in  which 
to  work.  Minutes  lost  here  may  cost  hundreds 
of  lives  and  thousands  of  dollars. 

If  audiences  know  that  the  exits  are  ample, 
that  the  aisles  are  wide,  that  the  house  is 
fireproof,  that  the  fire-extingiilshing  equipment 
is  sufficient,  that  it  is  the  custom  of  the  man- 
agement to  pay  attention  to  safeguarding  pa- 
trons, panic  is  much  less  likely  to  occur  than 
when  publicity  has  not  been  given  to  these 
points,  or  the  public  is  not  well  informed  con- 
cerning them. 

We  know  that  the  larger  number  of  theatre 
fires  start  after  performances  are  over  and  the 
house  closed  for  the  night.  Next  in  number  are 
those  which  occur  during  a  show,  starting  on 
the  stage,  in  a  dressing-room,  boiler-room  or  in 
scenery,  caused  as  a  rule  by  electrical  short-cir- 
cuit or  other  trouble,  cigarette  stubs,  discharge 
of  firearms,  defective  flues,  or  spontaneous  com- 
bustion of  waste  paper,  oily  cloths,  etc.  Usually, 
the  fire  which  starts  during  a  show  is  extin- 
guished before  it  does  any  damage,  but  it  may 
NOT  be;  hence  the  desirability  of  eliminating 
EVERY  POSSIBLE  CAUSE  of  a  firc.  This  involves 
THOROUGH  cleanliness  around  and  behind  radi- 
ators, packs  of  scenery,  and  in  corners,  etc.  It 
involves  precaution  in  the  use  of  firearms,  elec- 

279 


trical  equipment,  and  every  apparatus  which  has 
fire-making  possibilities. 

To  reduce  to  a  minimum  the  danger  of  and 
from  panic,  the  practice  should  be  adopted  of 
printing  in  programs,  and  rinining  on  the 
screen,  an  announcement  that  the  theatre  is  pro- 
vided with  all  safe-guards,  and  enumerating 
them,  calling  attention  to  exit  facilities,  and 
warning  the  audience  against  panics.  This 
should  be  done  consistently,  performance  after 
performance,  year  in  and  year  out.  Some  day 
it  may  prevent  a  terrible  catastrophe  and  save 
the  management  a  harrowing  memory. 

Frequent  inspection  by  the  manager,  and  also 
by  the  superintendent  or  stage-manager,  of  the 
entire  theatre  and  of  the  portions  under  their 
respective  control,  should  be  made,  and  these 
should  be  thorough,  with  a  merciless  checking 
up  of  any  employee  or  department  found  lax  in 
attention  to  fire-prevention  practices. 

A  fire  drill  should  be  held  weekly,  at  unex- 
pected times,  in  which  the  entire  crew  and  staff 
should  participate;  each  should  have  a  station 
to  report  to,  a  specific  duty  to  perform.  It 
may  be  that  when  the  fire  comes  some  will  not 
do  their  duty,  but  most  will  and  there  is  a  de- 
cided advantage  in  having  them  trained.  When 
a  fire  does  start,  let  the  rule  be  that  an  alarm 

280 


is  to  be  turned  in  immediately.  Let  no  one  take 
unto  himself  the  responsibility  of  checking  it — 
or  of  "thinking"  that  he  can  put  it  out;  turn 
in  an  alarm.  No  man  has  any  right  to  assume 
such  a  responsibility.  Now  this  does  not  mean 
that  everyone  should  begin  to  run  for  a  fire 
alarm  box;  if  there  is  one  on  stage  (and  there 
should  be)  it  should  be  adjacent  to  the  switch- 
board, and  it  should  be  the  stage-manager's 
duty  to  turn  in  the  alarm  himself,  or  instruct 
the  electrician,  quietly,  to  do  so.  The  box- 
ofRce  should  be  notified  at  once,  and  it  in  turn 
should  telephone  in  an  alarm,  to  make  sure  that 
the  alarm  does  go  in,  and  at  once.  Then,  under 
the  stage-manager's  direction,  work  of  combat- 
ing the  fire,  if  on  the  stage,  should  commence. 
The  asbestos  curtain  should  be  lowered,  all  lights 
turned  on,  orchestra  signalled  to  play,  and,  if 
possible,  someone  step  out  into  the  boxes  from 
the  stage  and  urge  the  people,  if  they  are  becom- 
ing panicky,  to  take  their  time  and  not  push  or 
crowd. 

The  writer  here  offers  a  few  suggested  safe- 
guards : 

Minimum  width  of  an  exit  and  exit-door  for 
each  five  hundred  persons  or  less  should  be  5 
feet,  and  for  every  additional  one  hundred  per- 
sons 20  inches  should  be  added  to  this  width. 

281 


Exit-doors  should  invariably  swing  outward, 
and  it  is  not  sufficient  that  they  merely  open 
outward,  but  they  should  swing  entirely  out  of 
the  way  and  flat  back  against  the  wall. 

All  exit-doors  should  be  plainly  designated  as 
such  in  large,  legible  letters,  and  all  other 
doors  which  might  be  mistaken  for  exits  should 
be  plainly  marked  "No  Exit,"  or  "Toilet,"  or 
some  other  marking  which  will  indicate  imme- 
diately that  they  are  not  exits. 

Doors  of  exits  to  staircases  should  never  open 
directly  upon  the  stairs,  but  upon  a  wide  landing 
between  doors  and  stairs. 

Exit-doors  should  invariably  be  provided 
with  "panic  bolts,"  and  never  locked  or  even 
equipped  with  locks  for  use  with  keys. 

Stairways  should  be  wide  and  easy,  without 
winding  or  single  steps;  long  stairs  should  be 
broken  by  wide  landings,  and  all  risers  or  treads 
should  be  uniform,  to  prevent  stumbling. 

Strong,  well  fastened  hand-rails  should  be 
provided  at  both  sides  of  stairways,  and  ex- 
tremely wide  stairs  should  be  divided  in  the 
middle  with  a  hand-rail.  No  obstructions  on 
stairways  should  be  permitted. 

Aisles  in  auditorium  should  be  of  proper 
width;  dimensions  of  seats  should  be  generous, 
meaning  20  to  22  inches,  for  comfort's  as  well  as 

282 


safety's  sake,  and  clearance  between  seats  should 
be  ample.  Seats  should  be  securely  fastened  to 
floor. 

External  fire-balconies  and  stairs  should  be 
roofed  over,   and  kept  free   and   unobstructed. 

Well-arranged,  strongly  built  stairs  should 
lead  from  dressing-rooms  to  exits  on  stage,  and 
the  actors'  safety  should  be  as  well  looked  to  as 
that  of  the  audience,  though  there  is  almost  no 
danger  of  panic  back  stage. 

The  use  of  candles,  oil  lamps,  lanterns,  etc., 
should  be  positi\^ly  prohibited;  in  these  days 
the  miniature  electric  flash  lamps  should  be  used. 

Fire-apparatus  should  be  frequently  inspected 
and  tested ;  the  chemical  containers  should  be  re- 
newed not  less  often  than  once  annually,  under 
supervision  of  someone  designated  by  the  local 
fire  chief. 

Install  latest  and  best  make  automatic 
sprinkler  system  with  tanks  of  ample  capacity 
on  roof.  This  system  should  be  regularly  in- 
spected. 

The  fly-gallery  and  back  stage  should  be 
equipped  with  fire-axes,  pole  hooks,  durable 
ladders,  hatchets,  and  a  number  of  painted  gal- 
vanized iron  pails  marked  "For  Use  In  Case  of 
Fire  Only,"  these  to  be  kept  covered,  and  re- 
filled weekly. 

28S 


Install  in  two  or  more  accessible  locations  on 
each  floor  of  auditorium,  a  hose  reel,  in  recess 
with  glass  framed,  easy  opening  door,  the  nozzle 
and  hose  to  be  connected,  ready  for  use. 

A  fire-curtain  of  thick  and  strongly  woven 
asbestos  cloth,  running  freely  in  iron  guides,  is 
usually  required  by  law;  but  should  it  chance 
that  the  law  does  not  require  it  in  the  reader's 
locality,  its  installation  is  nevertheless  urgently 
recommended. 

The  vent  opening  in  roof  of  stage,  automatic 
sprinkler  system,  fireproof  and  smokeproof  cor- 
ridors and  stairways  and  fireproof  construction 
are  all  matters  upon  which  volumes  of  informa- 
tion are  available,  and  the  writer  will  not  en- 
deavor to  go  more  deeply  into  the  subject,  feel- 
ing sure  that  the  reader  appreciates  its  im- 
portance, and  will  give  it  due  consideration  in 
planning,  erecting  and  operating  his  theatre. 

Insurance 

There  should  be  no  necessity  to  call  attention 
to  the  prime  necessity  of  insuring  a  business 
against  every  hazard  for  which  insurance  may 
be  had.  Yet,  in  his  travels,  the  writer  finds 
many  theatrical  enterprises  not  so  insured,  and 
has  known  of  many  staggering  losses  occur- 
ring through  inattention  to  this  matter. 

284 


It  is  sound  commercial  practice  to  purchase 
E^^ERY  type  of  insurance  protection  which  is 
available  for  any  business.  The  cost  of  insur- 
ance is  based  upon  the  invariably  accurate  law 
of  averages  obtained  by  actual  experience,  and 
premiums  charged  are  in  accordance  with  the 
risks  assumed. 

In  constructing  a  theatre  attention  should  be 

given,  AT  THE  TIME  OF  PLANNING  AND  BUILDING, 

to  the  points  Avhich  will  affect  the  cost  of  insur- 
ance. In  other  words,  reduce  the  risk  to  the  min- 
imum. For  instance,  in  connection  with  the  fire 
risk,  consider  the  installation  of  a  sprinkler  sys- 
tem throughout  the  theatre;  the  height  of  walls 
above  the  roof;  construction  of  copings;  open- 
ings in  walls  adjoining  other  buildings;  the  con- 
struction of  proscenium  wall  and  its  height; 
approved  fire-doors  and  shutters  on  windows 
worked  by  weights  suspended  by  fusible  links; 
insulation  of  steam  heating  pipes;  using  only 
"Underwriters'  approved"  electrical  equipment 
installed  according  to  code,  etc.,  etc. 

Expert  advice  is  available  upon  request  to 
any  of  the  companies,  who  will  gladly  go  into 
detail  on  all  points,  instructing  without  cost 
as  to  the  best  practice  from  safety  and  insur- 
ance standpoints. 

285 


In  many  cities  these  are  all  covered  by  local 
building  regulations  and  ordinances;  in  other 
cities  the  requirements  are  not  so  rigid.  In  the 
writer's  opinion,  it  is  advisable  that  at  the 
time  plans  are  submitted  to  the  local  municipal 
officials  for  approval  in  connection  with  issuance 
of  building  permit,  a  duplicate  set  should  be 
submitted  to  an  insurance  authority  for  criti- 
cism and  advice. 

A  reduction  of  a  few  cents  per  hundred  dol- 
lars for  insurance  in  effect  over  a  period  of 
years,  will  more  than  pay  for  the  slight  addi- 
tional cost  of  building  right  and  safely  in  the 
first  place.  And  remember  this:  while  the  cost 
of  the  insurance  is  thus  being  lowered,  the  haz- 
ard is  likewise  being  reduced,  and  the  likelihood 
of  disaster  of  any  sort  is  being  brought  to  a 
minimum. 

Too  much  stress  cannot  be  laid  upon  the  im- 
portance of  READING  POLICIES  carcfully  and  thor- 
oughly. It  is  too  often  assumed  that  the  policy 
covers  this  and  that  without  actual  knowledge 
of  just  what  its  provision  and  coverages  are.  An 
insiu'ance  policy  is  like  any  other  commercial 
contract  in  that  certain  duties  and  acts  are  to  be 
performed  by  both  parties.  It  should  be  seen  to 
that,  as  the  insured  party,  the  owner  has  a  thor- 
ough understanding  of  just  what  his  duties  under 

286 


the  contract  are,  and  is  equally  well  posted  as  to 
just  what  the  insurer  has  agreed  to  do.  Do  not 
assume  that  he  will  do  thus  and  so;  know  it  by 
clearly  understanding  just  what  he  has  agreed, 
in  writing,  to  do.  This  subject  is  deemed  of  suf- 
ficient importance  to  justify  repetition  and  the 
citing  of  a  case  or  two. 

In  a  certain  fire  not  only  the  property  of 
the  theatre  was  destroyed,  but  as  well  a  grand 
piano  and  an  expensive  set  of  furniture  which 
had  been  borrowed  as  "props"  and  for  which 
the  theatre  was  responsible.  The  insurance 
company  was  not  liable,  merely  because  the  in- 
sured had  not  required  that  his  policy  should 
cover  such  losses.  He  was  only  protected 
against  destruction  of  property  of  the  theatre. 

An  electrician,  repairing  a  sign  on  the  front 
of  a  theatre,  dropped  molten  solder  upon  a 
lady  passing  below.  Public  liability  insurance 
held  by  the  theatre  did  not  protect  it  in  this 
case,  because  the  policy  provided  that  it  cov- 
ered losses  only  in  case  of  negligence  on  the 
part  of  employees  of  the  theatre,  whereas,  the 
electrician  in  this  instance  was  the  employee  of 
a  sign  company,  who  had  the  sign  on  lease  to 
the  theatre  and  was  maintaining  it  in  accord- 
ance with  a  contract.  Yet  the  court  held  that 
the  theatre  was  responsible  for  the  actions  of 

287 


this  man,  and  rendered  a  verdict  against  it.  Both 
the  sign  company  and  the  theatre  were  made 
parties  to  the  suit,  and  it  was  the  theatre  which 
paid  the  loss.  A  simple  "rider"  attached  to  the 
public  liability  insurance  policy  would  have 
protected  the  theatre  against  this  loss,  and  saved 
it  the  considerable  expense  of  defending  the 
suit. 

A  bonding  company  declined  to  make  good 
a  treasurer's  loss  on  the  ground  that  he  was 
not  provided  with  adequate  means  for  taking 
care  of  his  money.  Reading  the  policy  brought 
out  the  fact  that  the  insurance  was  effective 
ONLY  if  the  treasurer  was  provided  with  a  suit- 
able iron  safe  in  which  to  keep  his  funds. 

Endless  multiplication  of  such  cases  could 
be  cited;  but  the  point  desired  to  be  made  is 
that  policies  should  be  carefully  read  and  un- 
derstood, and  clauses  inserted  to  make  the  pro- 
tection accorded  complete.  The  insurance  com- 
panies do  not  wish  to  evade  their  responsibilities, 
or  take  refuge  in  technicalities,  but  they  do  ob- 
ject to  policies  being  construed  as  giving  more 
protection  than  is  clearly  undertaken  by  their 
written  terms,  and  will  generally  go  into  court  to 
defend  themselves  against  loss  on  a  risk  that  they 
have  not  specifically  and  in  writing  assumed. 

288 


Having  emphasized  the  necessity  of  clearly 
UNDERSTANDING  just  what  protection  is  afforded, 
the  advisability  of  maintaining  the  following 
classes  of  insurance  is  suggested: 

Fidelity  or  Surety  Bond 

Manager,  treasurer,  assistant  treasurer,  and 
any  other  employees  who  handle  and  account 
for  funds  of  theatre.  Do  not  accept  private  or 
personal  bonds,  but  place  this  insurance  in  rep- 
utable companies,  and  pay  the  premiums. 

Burglary  and  Theft 

Protecting  the  box-office,  treasurer  or  assist- 
ant treasurer  on  way  to  and  from  the  bank; 
also  covering  loss  of  valuable  paintings,  statu- 
ary, draperies,  etc.,  and  effects  of  artists. 

Fire 

Covering  not  only  property  of  the  theatre,  but 
a  blanket  coverage  of  all  property  that  may  be 
on  loan  for  use  in  connection  with  the  shows, 
etc.  Also  specifically  covering  loss  to  artists  and 
acts  of  wardrobe,  trunks,  scenery  and  effects. 
(Note:  Most  fire  insurance  policies  require  an- 
nual inventories,  in  writing,  to  be  made  as  a 
condition  of  the  policy  remaining  in  effect.  See 
that  this  provision  is  complied  with.) 

289 


Public  Liability 

Study  the  coverage  desired,  and  see  that  pol- 
icy is  explicit  on  all  points.  (Note. — Secure 
protection  not  only  within  the  four  walls  of  the 
theatre,  but  to  the  sidewalk  line  as  well.) 

Employer's  Liability 

Usually  required  by  law.  Read  policies  care- 
fully. Premium  based  upon  payroll  and  haz- 
ard; keep  records  carefully  and  accurately. 

Storm,  Tornado,  Lightning,  Etc. 
Secure  coverage  of  borrowed  "props,"  etc. 

Plate  Glass,  Elevator 

Read  carefully  and  understand  just  what 
protection  is  accorded.  If  coverage  is  not  suf- 
ficient, request  "riders"  to  cover  special  points. 

Steam  Boiler 

Cover  borrowed  "props,"  etc.,  and  artists' 
property,  wardrobe,  etc. 

In  conclusion  it  may  be  said  that  premium 
rates  are  generally  uniform  in  the  various  com- 
panies, but  regardless  of  this  point  only  es- 
tablished, reputable  concerns  of  unquestioned 
soundness  should  be  accepted  as  insurers. 

290 


The  Orchestra 

The  orchestra  may  be  made  a  decided  draw- 
ing card,  featured  in  program  and  advertising 
matter;  or  it  may  be  just  an  orchestra. 

Better  three  pieces  and  real  musicians,  than 
eight  or  ten  mediocre  ones.  Whatever  its  size, 
every  possible  effort  should  be  made  to  get 
quality.  Without  real  music,  the  average  vaude- 
ville show  is  decidedly  handicapped.  A  poor 
quartette  of  singers,  for  instance,  can  be  almost 
unbelievably  improved  through  intelligent  and 
artistic  playing  of  the  violin  and  trombone  in 
the  orchestra. 

If  it  is  possible  to  secure  musicians  who  are 
capable  soloists,  this  should  be  done;  solo  num- 
bers by  the  violin,  cornet,  trombone,  etc.,  may 
be  featured  in  the  program.  To  vaudeville,  the 
trap  drummer  is  a  necessity. 

It  is  suggested  that  the  following  points  re- 
ceive attention  in  assembling  the  orchestra: 

Leader:  Violin  or  piano;  needs  for  a  vaude- 
ville theatre,  to  be  a  patient  and  extremely  ca- 
pable musician.  Sometimes  he  has  to  possess  al- 
most clairvoyant  powers  to  interpret  the  needs 
of  some  acts.     He  and  his  musicians  will  fre- 

291 


qiiently  have  to  contend  with  poorly  written, 
almost  illegible  music;  it  often  reaches  him 
torn,  blotted,  pencilled  and  erased  until  it  is 
difficult  to  recognize  it  as  music  at  all.  It  is 
often  the  case  that  an  act  does  not  bring  any 
music,  merely  desiring  a  quick  little  waltz  or 
march  for  opening  and  closing  a  sketch,  or  ask- 
ing the  orchestra  to  "fake"  this  or  that  through- 
out an  acrobatic  act,  or  during  some  "business." 
It  follows  that  the  leader  must  be  adept  at 
choosing  a  suitable  number  in  keeping  with  the 
spirit  of  the  act.  It  also  follows  that  the  or- 
chestra must  be  able  to  "fake"  in  good  har- 
mony. So  far  as  the  author  knows,  there  is  no 
field  of  musical  endeavor  requiring  quite  so 
much  versatility,  all-around  ability,  patience 
and  general  musical  knowledge  as  that  of  the 
vaudeville  orchestra. 

Artists  are  prone  to  "cut"  rehearsals,  or  to 
shorten  them  to  mere  "flashes."  Often  the  de- 
scription of  "business,"  cues  and  other  informa- 
tion given  the  leader  and  trap  drummer  is  gar- 
bled and  insufficient. 

In  practice,  the  author  has  found  it  by  far 
the  best  to  require  rehearsals  to  the  point  where 
the  leader,  orchestra  and  actor  have  each 
reached  a  clear  and  definite  understanding  of 
just  exactly  what  is  to  be  done,  and  how  and 

292 


when.  This  is  sometimes  trying  to  the  patience 
of  all  concerned,  but  it  results  in  a  good  open- 
ing performance  and  tends  to  remove  the  im- 
pression the  public  often  has  that  the  first  show 
of  the  new  bill  is  merely  a  dress  rehearsal,  re- 
sulting in  lighter  attendance  than  would  be  the 
rule  if  it  were  known  that  the  first  show  were 
likely  to  be  as  finished  and  smooth  as  the  last. 

The  leader  should  make  it  an  invariable  cus- 
tom to  see  each  of  the  acts  after  the  first  show 
and  inquire  if  the  music  has  been  satisfactory, 
and  to  give  another  rehearsal  to  any  act  re- 
questing it.  The  conscientious  leader  will  do 
this  willingly;  the  one  who  won't,  has  not  the 
interest  of  the  house  at  heart,  and  should  be 
replaced  with  one  who  is  interested  and  loyal 
enough  to  feel  that  no  effort  is  too  great  which 
will  result  in  an  improvement  of  the  show. 

A  leader  will  have  many  things  to  contend 
with;  not  only  the  problem  of  keeping  the  men 
under  him  up  to  a  high  standard,  but  as  well  of 
maintaining  pleasant  relations  with  the  artists. 
He  should  bear  in  mind  that  he,  in  common  with 
all  the  other  employees  of  the  theatre,  has  but 
one  course  to  pursue  if  the  house  is  to  be  a 
success,  and  that  is  to  do  his  best.  Artists  come 
and  go — some  pleasant  and  agreeable,  now  and 
then  some  decidedly  otherwise.     The  closest  co- 

293 


operation  between  the  artist  and  the  orchestra  is 
absolutely  essential  if  the  show  is  to  go  well ;  and 
each  should  remember  that  anything  tending  to 
make  the  show  less  of  a  success  than  it  could  be 
operates  to  a  corresponding  extent  to  keep  pa- 
trons away  from  the  box-office. 

Overtures  should  be  carefully  chosen,  varied 
between  classical  and  popular  numbers,  and 
changed  as  often  as  the  show  changes.  Now 
and  then,  a  "jazz"  number  is  permissable,  but 
loud,  brassy,  clashing  music  should  be  avoided 
as  a  rule.  Muted  instruments — a  quiet  tone — 
real  music — will  be  listened  to  and  appreciated 
by  the  audiences.  It  is  suggested  that  "March- 
ing Through  Georgia"  is  a  poor  number  to  play 
in  southern  territory;  the  sentiments  of  the  lo- 
cality in  which  the  theatre  is  established  should 
be  considered  always. 

The  leader  and  the  manager  can  and  should 
arouse  interest  in  the  orchestra  as  such;  if  they 
do,  it  will  soon  have  a  decided  following  and 
do  much  to  cement  the  friendly  feeling  of  the 
public  to  the  theatre. 

It  is  better  to  feature  the  house  orchestra 
than  the  leader.  If  the  leader  resigns  or  is  dis- 
charged, the  orchestra  remains,  with  only  one 
place  to  fill. 

294 


The  leader  should  take  care  that  during  the 
progress  of  the  show  there  is  no  let-down — 
that  is,  if  there  is  an  unavoidable  stage-wait, 
there  should  be  some  little  incidental  music 
during  it,  not  a  special  number  but  something 
that  will  keep  the  audience  quiet  and  prevent 
straying  of  attention,  starting  of  conversations, 
etc. 

The  leader  should  be  in  responsible  charge  of 
the  orchestra,  accountable  only  to  the  manager. 
He  should  confer  with  the  manager  in  selecting 
overtures.  Under  no  circumstances,  should  the 
manager  issue  instructions  direct  to  the  sidemen, 
but  only  through  the  leader. 

At  the  appointed  time,  at  least  fifteen  min- 
utes before  curtain,  the  orchestra  should  go 
in  the  pit,  and  play  continuously  until  the  per- 
formance starts.  It  is  wise  to  discourage  the 
usual  practice  of  an  orchestra  leaving  the  pit 
during  a  silent  act — a  sketch  or  other  offerin  : 
that  does  not  require  music.  No  matter  how 
quietly  this  is  done,  the  movement  in  the  pit  is 
disconcerting  to  the  audience,  attracts  its  atten- 
tion in  a  minor  degree  perhaps,  but  none  the 
less  effectively,  from  the  act — and  every  now 
and  then  one  of  the  men  will  knock  over  a 
chair  or  a  music-stand. 

295 


These  are  things  concerning  which  the  leader 
should  instruct  his  men,  and  the  enforcing  of 
such  regulations  should  receive  the  manager's 
fullest  co-operation. 

The  leader  should  have  an  ample  library; 
if  he  is  not  the  type  of  man  to  take  a  keen 
interest  in  making  his  orchestra  the  best  in  town 
and  to  feel  great  pride  in  its  accomplishments, 
he  is  not  the  ideal  one  to  engage. 

Sidemen  should  be  selected  by  the  leader;  he 
will  be  responsible  for  their  ability  and  conduct 
in  the  theatre,  and  should  have  a  free  hand  in 
this  matter;  except  that  he  should  advise  with 
the  manager,  and  only  be  overruled  when  the 
latter  is  very  sure  that  his  position  is  correct. 

Sobriety  in  the  orchestra  should  be  an  abso- 
lute requirement;  taking  liberties  with  the 
music  of  acts,  or  "kidding"  artists,  should  never 
be  permitted.  Members  of  the  orchestra  should 
never  talk  to  patrons  in  front  rows,  or  ogle  ladies 
in  the  audience.  "Mashers"  have  no  place  here, 
and  should  not  be  tolerated  for  a  minute. 

The  number  of  pieces  in  orchestra  will  be  gov- 
erned largely  by  the  amount  of  money  to  be 
allotted  for  salaries.  As  a  rule,  however,  it  re- 
quires a  minimum  of  five  pieces  for  anything 
like  good  results;  the  instrumentation:  Violin, 
piano,  cornet,  trombone  and  trap  drummer.     If 

296 


six  pieces,  add  a  clarinet;  if  seven,  bass  viol;  if 
eight,  a  flute;  if  nine,  a  second  violin;  if  ten, 
an  organ  for  volume,  tone  and  strength.  A 
greater  number  should  be  the  subject  of  con- 
sultation and  agreement  between  manager  and 
leader,  it  being  remembered  that  the  latter  is 
probably  familiar  with  the  ability  of  the  various 
local  men.  It  may  be  preferable  to  deviate 
slightly  from  the  instrumentation  herein  pro- 
posed. It  is  well  to  make  sure  that  a  less  suit- 
able or  desirable  instrument  is  not  being  put  in 
merely  to  provide  employment  for  the  indi- 
vidual who  plays  it. 

The  drummer  should  be  chosen  with  a  view 
not  only  to  his  ability,  but  to  his  traps  as  well. 
He  should  have  a  complete  assortment  of  ef- 
fects, chimes,  xylophone,  tympani,  etc. 

The  "cue"  light — a  very  small  amber-colored 
globe  located  where  the  leader  (but  not  the 
audience)  can  see  it — should  be  flashed  with  a 
switch  or  button  at  the  switchboard  on  stage. 
The  use  of  a  buzzer  is  not  advisable,  unless  it 
is  very  subdued,  and  the  practice  of  flashing 
the  footlights  or  the  orchestra  lights  is  extremely 
"small  time." 

The  equipment  of  the  pit  should  include  a 
bentwood  chair  and  a  music-stand  of  approved 
design  for  each  musician.     Music-stand  lights 

297 


should  be  amber-colored,  of  small  candle-power, 
and  so  arranged  that  the  light  is  reflected  di- 
rectly onto  the  music  and  not  in  the  audience's 
eyes.  Some  attention  should  be  given  to  this 
arrangement,  as  points  of  light  standing  out 
sharply  against  the  background  of  a  dark  stage 
not  only  depreciate  the  beauty  of  the  settings, 
but  strain  the  eyes  of  the  audience. 

If  the  theatre  is  not  yet  constructed,  it  is 
urgently  recommended  that  careful  attention  be 
given  to  providing  a  pit  of  sufficient  size,  so 
planned  that  an  upright  or  grand  piano  can  be 
placed  in  it;  also  a  small  organ.  Sufficient 
space  should  be  allowed  at  the  drummer's  end 
for  his  traps,  tympani,  etc.,  and  at  the  opposite 
or  bass  viol  end  for  the  large  and  unwieldly 
instrument.  The  pit  must  be  low  enough  so 
that  the  heads  of  the  musicians  will  not  project 
above  the  line  of  the  footlights. 

There  should  be  a  speaking  tube  from  the 
switchboard  on  stage  to  the  leader's  stand. 

If  any  untoward  event  happens  while  the 
performance  is  on,  such  as  fire  or  anything  that 
threatens  panic,  the  orchestra  should  imme- 
diately play  a  lively  march,  preferably  some- 
thing like  "Dixie." 


298 


The  Vaudeville  Artist 

In  the  main  a  faithful,  hardworking  lot,  liv- 
ing in  the  land  of  fancy,  inclined  to  be  ego- 
tistical, yet  sensitive;  temperamental,  yet  with 
here  and  there  a  disconcerting  strain  of  keen 
foresight;  often  envious  or  jealous  of  the 
progress  or  success  of  fellow  artists;  easily  in- 
fluenced and  quick  to  take  offense  at  real  or 
fancied  belittlement  of  their  own  particular  act 
or  style;  ambitious  for  success  in  their  chosen 
field  of  effort — those  children  of  "make-be- 
lieve" are  often  actors  on  and  off. 

The  artist,  therefore,  with  his  temperamental 
shortcomings,  his  dislike  often  for  sordid  de- 
tails, and  much  "camouflage,"  frequently  does 
not  use  shrewd  or  even  good  judgment  in  the 
making  of  contracts,  or  in  other  business  deal- 
ings. It  follows  that  now  and  then  he  is  taken 
advantage  of  by  some  unscrupulous  manager 
or  sharp  agent;  and  as  a  result  he  is  often 
prejudiced  against  all  managers  and  agents. 
There  are  some  artists,  and  likewise  some  man- 
agers and  bookers,  who  are  a  discredit  to  the 
profession;  but  these  gi'ow  constantly  less  in 
number  as  it  becomes  better  understood  by  all 
concerned   that   the   fittest   survive;    it   is   only 

299 


the  artist,  manager  or  booker  who  is  "on  the 
level"  in  business  and  in  all  other  dealings  who 
is  really  "fit." 

Remember  then,  that  the  artist's  life,  his  very 
existence,  is  one  of  art,  imagination,  uncer- 
tainty, disappointments,  laughter  and  happiness 
mingled  with  tears  and  sorrows,  and  that  he  is 
a  cross  between  the  bohemian  and  the  cosmopo- 
lite. It  should  be  the  aim  of  a  manager  to  take 
intelligent  notice  of  these  characteristics,  and  in 
his  business  dealings  with  artists  bear  and  for- 
bear in  a  wise  and  just  manner.  It  is  an  old 
saw  and  a  true  one,  that  "you  can  catch  more 
flies  with  sugar  than  with  vinegar." 

Bear  in  mind  that  though  the  theatre  be 
beautiful,  its  stage  perfectly  equipped  and 
lighted,  the  staff  efficient  and  courteous,  it  is  the 
artist  who  gives  the  show — it  is  to  the  actor  that 
one  must  look  for  the  actual  entertainment. 

Though  each  manager  may  have  his  own 
and  perhaps  peculiar  idea  of  just  what  his  atti- 
tude toward  the  actor  should  be,  and  just 
what  rules  and  regulations  should  govern  the 
latter,  the  important  points  with  respect  to  the 
business  side  of  the  engagements  are,  or  should 
be,  invariably  covered  by  signed  contracts.  If 
both  will  observe  to  the  letter  the  stipulations 
of  the  contract,   and  the  manager  meet  in  an 

300 


open-minded,  fair  manner  the  little  complaints 
that  now  and  then  arise,  there  will  he  little  room 
for  arguments,  and  probably  very  few  will  oc- 
cur. 

There  are  many  clauses  of  the  contract  form 
in  general  use  to  which  artists  as  a  rule  fail  to 
accord  the  necessary  recognition,  and  by  so  do 
ing  often  create  dissension.  It  usually  suffices 
to  produce  the  manager's  copy  of  the  contract 
and  invite  attention  to  the  wording  of  the  clause 
which  is  being  violated  by  either  party. 

Other  things  tending  to  create  friction  are: 

Failure  of  the  artist  to  send  billing,  plots 
and  photos  sufficiently  ahead  to  enable  the  man- 
ager properly  to  advertise  and  prepare  for  the 
act. 

Reporting  late  for  rehearsal  without  just 
cause.  This  is  frequently  due  to  the  artist's  ar- 
riving on  the  latest  possible  train,  instead  of 
having  taken  from  the  preceding  town  the  first 
available  train  after  his  final  performance  there. 

Transporting  music  in  trunks  instead  of  in 
hand  baggage,  with  result  that  when  baggage 
is  delayed  rehearsals  must  wait. 

Failing  to  carry,  if  possible,  enough  suitable 
wardrobe  to  enable  the  act  to  go  on  and  "do 
something"    with    a   semblance    of   the    regular 

301 


act,  when  baggage  has  miscarried  or  been  de- 
layed. 

Arguments  concerning  dressing-room  as- 
signment. This  is  a  matter  entirely  up  to  the 
management. 

Complaining  of  "spot"  or  position  on  the 
bill,  another  matter  which,  unless  regulated 
otherwise  by  express  stipulation  in  the  con- 
tract, is  entirely  within  the  jurisdiction  of  the 
manager — who  may  leave  it  to  his  booking 
agent  to  arrange  the  running  order  of  a  pro- 
gram. 

Using  profane,  indecent,  vulgar,  suggestive 
or  other  objectionable  phrases,  words  or  actions 
in  the  act,  and  protesting  against  their  elim- 
ination by  the  management. 

Protesting  against  the  management's  cutting 
down  time  of  act. 

Insufficient  rehearsals,  inadequate  to  give  the 
orchestra,  or  others  concerned  in  presentation  of 
the  act,  an  accurate  idea  of  just  how  it  is  to  be 
handled. 

Quarrels  as  to  priority  of  right  to  use  a  cer- 
tain song  or  bit  of  music.  It  is  the  general  cus- 
tom to  rule  that  the  artist  who  first  rehearses  a 
certain  song  has  the  prior  right  to  use  it  on  that 
bill,  and  may  legitimately  ask  that  others  on 
the   bill    do   not   use   it — though   it   is   entirely 

302 


within  the  jurisdiction  of  the  management  to 
permit  both,  either  or  neither  to  use  it. 

"Cutting"  or  shortening  the  act  on  final  per- 
formances, unless  by  consent  of  the  manage- 
ment. The  management  has  the  right  to  expect 
that  the  act  will  not  be  "cut"  or  changed,  from 
the  way  rehearsed,  except  with  his  consent.  The 
artist  should  not  "cut,"  "change,"  or  "cheat" 
in  his  work,  and  should  continue  during  the  en- 
tire engagement  to  do  the  act  as  at  the  first 
approved  performance.  Otherwise  he  seriously 
breaches  his  contract. 

Disputes  concerning  the  size  of  type  used  on 
posters,  the  position  allotted  the  act  in  lobby 
display,  on  boards  in  front  of  the  theatre  or  in 
general  outside  advertising.  These  are  mat- 
ters entirely  within  the  discretion  and  judg- 
ment of  the  management,  unless  otherwise 
specifically  provided  in  the  contract. 

The  artist  should  realize  that  as  a  general 
rule  the  nomination  of  his  position  on  the  bill 
has  had  careful  attention  from  perhaps  three 
or  four  persons  who  have  made  a  study  of 
"framing"  bills,  including  the  manager  of  the 
theatre,  and  that  these  have  arranged  it  with 
the  single  idea  of  using  each  act  to  the  best 
advantage  and  with  a  view  of  properly  bal- 
ancing the  entire  program. 

303 


The  manager  has  the  right,  and  may  be  ex- 
pected to  exercise  it,  of  watching  his  opening 
shows  very  carefully  and,  based  upon  his  ob- 
servations, of  eliminating  anything  which,  in 
his  judgment,  he  deems  best  to  eliminate,  from 
any  act. 

The  manager  has  the  right  to  expect  and 
to  receive  from  the  artist  his  best  efforts — all 
the  contract  calls  for — and  receiving  these  from 
the  artist  is  obligated,  morally  and  otherwise, 
to  do  what  he  reasonably  can  to  make  the  en- 
gagement pleasant  and  profitable  for  the  actor. 

The  deportment  of  the  artist  during  his  en- 
gagement is  of  much  importance.  In  the  thea- 
tre, on  the  street  and  at  the  hotel,  it  is  due  the 
theatre  that  his  conduct  be  discreet  and  becom- 
ing. In  a  sense  he  is  a  walking  advertisement 
for  the  theatre;  to  a  great  degree  the  charac- 
ter of  the  actor  is  judged  by  the  public  to  be 
that  of  both  the  theatre  and  the  profession  in 
general,  and  it  is  the  perfect  right  of  the  man- 
agement to  expect  and  require  such  conduct 
as  will  reflect  credit  upon  both.  Many  thou- 
sands of  dollars  have  been  expended  to  give 
the  artist  a  place  in  which  to  play — an  oppor- 
tunity to  offer  his  art;  it  is  but  fair  that  he 
conduct  himself  as  becomes  a  member  of  an 
honorable  and  dignified  calling.     When  his  en- 

304 


gagement  is  finished,  he  goes  on  his  way,  per- 
haps never  to  return;  but  the  theatre  and  its 
local  management  remain,  and  must  face  such 
comment  as  there  may  be  from  patrons  and 
others  in  the  community.  Let  the  artist  see  to 
it,  then,  that  his  appreciation  for  the  engage- 
ment, respect  for  the  theatre  and  loyalty  to 
the  best  traditions  of  the  stage  prompt  him  so 
to  conduct  himself  as  will  increase  the  prestige 
of  each. 

A  splendid  rule  for  the  government  of  both 
parties  in  these  matters  is  the  Golden  One — 
it  will  never  lead  either  far  wrong. 

Booking  Affiliations 

If  the  building  of  a  new  theatre  is  contem- 
plated, and  it  is  intended  that  its  policy  shall 
be  vaudeville,  or  for  that  matter  any  other 
form  of  amusement,  it  will  be  well  to  look  to 
whatever  booking  affiliations  may  be  estab- 
lished. There  have  been  cases  where  all  con- 
tracts had  been  let  for  the  construction  of  a 
house  and  operations  thereupon  actually 
started,  before  the  promoter  or  builder  dis- 
covered that  the  franchises  for  desirable  at- 
tractions were  held  by  other  parties  for  that 
particular  city,  or  that  the  town  was  so  located 

305 


that  it  was  impracticable  to  connect  it  with  any 
of  the  circuits,  on  account  of  the  distance  from 
the  nearest  town  playing  the  desired  shows. 

The  writer's  suggestion  as  to  procedure  in 
this  matter  is  as  follows: 

The  builder,  or  a  representative  of  the  prin- 
cipal financial  interests  involved,  should  take  up 
with  the  strongest  booking  concern  operating 
in  that  territory  the  matter  of  securing  a  fran- 
chise for  the  proposed  theatre. 

He  should  look  carefully  to  the  standing  of 
the  concern  with  which  he  proposes  to  do  busi- 
ness and  to  which  he  intends  extending  the  right 
to  furnish  talent  for  his  house.  The  reputation 
of  the  booking  office  for  keeping  its  engage- 
ments and  rendering  satisfactory  and  efficient 
service  should  be  thoroughly  investigated.  Its 
financial  standing  should  be  inquired  into 
through  the  builder's  banker,  and  a  commercial 
agency  as  well.  A  trip  to  one  or  two  of  the 
nearest  towns  in  which  that  particular  agency 
is  booking,  and  a  discussion  of  the  matter  with 
the  managers  of  such  houses,  is  advisable. 

The  often  exaggerated  promises  of  recently 
established,  weak  or  inefficiently  conducted  book- 
ing offices  should  be  discounted.  It  should  be 
assured  that  the  promises  made  of  service  are 
in  keeping  with  what  the  office  has  been  actually 

306 


doing — not  for  a  month  or  so,  but  over  a  period 
of  years. 

Having  made  a  thorough  investigation  of  all 
these  matters,  it  is  best  to  write  that  office  which 
on  the  surface  seems  best  equipped  to  handle 
the  proposed  bookings,  and  to  make  an  appoint- 
ment for  an  interview  with  the  executive  head 
thereof.  Only  a  personal  interview  can  assure 
the  builder  or  manager  that  he  is  safeguarding 
the  future  of  his  theatre.  Money  spent  on  these 
preliminaries  is  by  no  means  wasted.  Indeed, 
unless  such  safeguards  are  taken,  the  sums  spent 
on  building  and  equipment  are  quite  likely  to 
become  a  losing  investment. 

The  practice  of  booking  offices,  as  a  general 
proposition,  is  to  issue  to  the  theatre,  a  "fran- 
chise" contract  for  its  particular  city,  wherein 
the  office  agrees  during  the  term  of  the  fran- 
chise, not  to  book  any  other  theatre  in  that  city. 
On  the  part  of  the  proprietor,  or  manager,  he 
agrees  to  use  exclusively  such  acts  or  attrac- 
tions as  are  furnished  by  the  office  with  which 
he  contracts  for  bookings. 

The  franchise  in  some  instances  carries  a 
bonding  clause,  wherein  the  proprietor  or  man- 
ager is  required  to  indemnify  the  booking  office 
against  loss  in  connection  with  issuance  of  con- 
tracts   in   the   name   of   the   theatre,    and   also 

307 


against  any  violation  of  the  terms  of  the  fran- 
chise contract.  It  authorizes  the  booking  of- 
fice to  sign  contracts  in  the  name  of  the  theatre, 
to  use  its  judgment  in  selecting  talent,  and  cus- 
tomarily establishes  a  certain  limit  of  cost  for 
the  average  bill  or  week. 

It  is  usual  and  justifiable  for  the  booking 
office  to  make  a  charge  for  its  service.  The 
amount  of  this  charge  varies,  depending  upon 
the  size  of  the  city  and  theatre,  the  class  of  at- 
tractions, and  other  considerations. 

Until  it  has  been  made  sure,  by  personal  in- 
vestigation, that  a  strong  booking  affiliation 
can  be  made,  and  a  definite  contract  providing 
therefor  has  been  entered  into,  it  is  not  wise  to 
build  a  theatre. 

If  the  theatre  is  already  built,  and  has  per- 
haps been  in  operation,  but  it  is  now  proposed 
to  change  the  policy  or  present  booking  afiilia- 
tion,  the  author  would  again  impress  upon  his 
reader  the  necessity  for  exercising  the  best  pos- 
sible judgment  in  selecting  the  service  to  be 
used. 


THE    END 


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